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I. P. E. U. OF N. A. CONVENTION NUMBER 

/ / 

•> No. 1 NOVEMBER Price 10 Cents 



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GEO. A. ERKENBRACH CO. 
Manufacturing Chemists 
115 MAIDEN LANE 

New York Incorporated 1906 


Established 1869 









LIBRARY of CONGRESS 
Tv/o Copies Received 

NOV 16 1908 

...Copyright Entry 

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CLASS 6 . XXc *} I 

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$ut)lt£f)eb fHontfjlp tn tfje interests; of JflakerS anb Users of ^fjoto=€ngrabtng 


VOL. I., NO. 1 NOVEMBER, 1908 


CONVENTION OF THE I. P. E. U. of N. A. 

With Introductory Summary by 
President Matthew Woll 


T HE International Photo-Engrav¬ 
ers Union, which was organized 
October 22 nd, 1900 , is a splendid 
example of what workmen can accom¬ 
plish by organization. Those familiar 
with conditions as they existed prior to 
our present effective organization know 
only too well what organization has 
done for its members in the matter of 
wages, hours of labor, regulation and 
instruction of apprentices and amelior¬ 
ating of many of the evil shop con¬ 
ditions then existing. 

The International Movement of 
Photo-Engravers has justified its ex¬ 
istence, not only by the good it has 
accomplished for its members, but also 
has proven beneficial to employers. I 
know there are those who would deny 
this assertion and who would seek to 
deprive our movement of much de¬ 
served credit. However, if our move¬ 
ment is judged impartially and with¬ 
out prejudice the influence it has had 
upon the photo-engraving craft in gen¬ 
eral is apparent, and the truth of the 
above assertion cannot be denied. The 
International Photo-Engravers Union 
has always endeavored to improve not 
only the conditions of its members but 

Copyright 1908. by The Hillside 


their skill as well. It has always tried 
to the best of its ability to maintain 
and perpetuate friendly relations with 
employers and maintain our craft upon 
a co-operatively profitable basis. 

Surely, it cannot be justly said that 
because we endeavor to improve our 
working conditions that we are, as a 
body, opposed to the interest of our 
employers. Is it not true that every 
nation, every civilized society, is en¬ 
deavoring to improve the conditions of 
its members? To say that our organi¬ 
zation is opposed to the interest of our 
employers, would subject them to the 
severe criticism of being opposed to- 
the policy of every civilized society. 

I am of opinion that employers gen¬ 
erally do not wish to force their em¬ 
ployees to work for lower wages or 
longer hours. On the contrary, I be¬ 
lieve they would concede many advan¬ 
tages to their employees if they felt 
themselves free to grant them. 

With competition prevailing as it 
does in our craft, it is at times diffi¬ 
cult for one employer to grant better 
conditions than those which his com^ 
petitor is not willing to grant. Com¬ 
petition ofttimes has limited employers 

Press, Richmond Hill. N. Y. 















2 


PHOTO-ENGRAVING ART 


in their kind disposition toward their 
employees, and were it not for our or¬ 
ganization, no means of limitation 
would be provided whereby a stop 
could be placed upon such competition, 
which, if permitted to continue unre¬ 
strained, would ultimately ruin the en¬ 
tire craft. It is here that our organiza¬ 
tion has been of benefit to every em¬ 
ployer who wishes to see the men in 
his employ improve their condition and 
make of themselves better and more 
contented workmen. 

At our recent convention, held Sep¬ 
tember 8th to 12 th in New York City, 
many propositions were considered by 
the delegates which are destined to 
benefit employers quite as much as 
ourselves. Not one can be consider¬ 
ed unfair, impracticable or unreason¬ 
able. On the contrary, actions pre¬ 
vailed there which have aroused the 
favorable comment and opinions of 
many employers, including among 
them those most hostile to the idea of 
workmen uniting for the improvement 
of their conditions. 

Among the matters most directly af¬ 
fecting employers are those relating to 
improving, if possible, the skill of our 
members along such lines as will per¬ 
mit our employers and ourselves to 
extend our activities into fields at pres¬ 
ent being operated by other illustra¬ 
tive crafts than that of photo-engrav¬ 
ing. Also, to assist our members by 
interchange of thoughts and ideas to 
overcome many of the difficulties which 
continually crop out in our work and 
which prove as annoying to the jour¬ 
neyman as to employers. 

Our organization has also deter¬ 
mined to engage actively in all legis¬ 
lative matters which affect our craft 
or are likely to. It will direct its in¬ 


fluence in favor of such legislation as 
will protect the American engraver and 
advance his interests and will oppose 



President MATTHEW WOLL 
I.P.E.U. OF N. A. 

such legislation as will have a detri¬ 
mental effect. There is need at this 
time for an organized influence upon 
all legislative matters affecting our 
craft, and our movement does not in¬ 
tend to remain silent or indifferent to 
such legislation as will benefit or harm 
the photo-engraving fraternity. 

We have also arranged for a pro¬ 
cedure whereby we hope to improve 
our shop conditions. Many of our 
workrooms are not in a condition con¬ 
ducive to the health of our members or 
safety of their lives, and it is our de¬ 
sire to assist employers in so arrang¬ 
ing their workrooms as to make them 
more sanitary and safe, and to make 
it possible for our members to work 
with less interruption, waste of effort 
and consequent loss of time, and to 





PHOTO-ENGRAVING ART 


6 


provide for additional facilities, all 
making for better workmanship. 

These are but a few of the actions 
on the part of our Union which evi¬ 
dence the fact that as a movement we 
do not antagonize the interests of our 
employers. Within the past two years 
we have had but two conflicts with 


employers, affecting in all about a doz¬ 
en members, which have not as yet been 
satisfactorily arranged. 

Our ninth annual convention, re¬ 
cently adjourned, has demonstrated 
our movement to be one of intelligent 
direction and founded upon sound 
economic principles. 


PROCEEDINGS OF THE NINTH ANNUAL CONVENTION 

of the 

INTERNATIONAL PHOTO-ENGRAVERS’ UNION OF N. A. 


Held at New York, 

The ninth annual convention of the In¬ 
ternational Photo-Engravers’ Union was 
opened by Mr. Jas. H. Gibson, chairman of 
the local convention committee, who extend¬ 
ed a welcome on behalf of the committee to 
delegates and visitors. 

President Wm. H. Zehr, of New York 
Photo-Engravers’ Union No. i, in a few ap¬ 
propriate remarks extended a hearty wel¬ 
come of his union to the delegates and visi¬ 
tors. 

Mr. Zehr then introduced Mr. Matthew 
Woll, president I. P. E. U., who, on behalf 
of the delegates, thanked the committee for 
the excellent arrangements. 

President Woll now declared the conven¬ 
tion opened for the transaction of business 
and appointed the following committee on 
credentials: Otto Bartels, Peter J. Dunn, 
Max Schoener, Chas. Tygart and Robert C. 
Kroll. 

Delegate Schwarz announced the death of Mr. 
Manning of the firm of Gatchel & Manning of 
Philadelphia. He stated that Mr. Manning al¬ 
ways showed a spirit of friendship to our organi¬ 
zation and suggested that we send telegrams of 
condolence to the firm and to Mrs. Manning. 

On motion the secretary was instructed to send 
the following telegrams: 

Gatchel & Manning, 

Sixth and Che tnut Streets, Philadelphia, Pa. 

The Ninth Annual Convention of the Interna¬ 
tional Photo-Engravers’ Union of North America 
extend expressions of sincere sympathy on account 
of the death of Mr. Fra^k Manning. 

Respectfully yours, 

H. E. Gudbrandsen, 

Secretary. 

Mrs. Frank Manning, Sr., 

Care Gatchel & Manning, Sixth and Chestnut 
Streets, Philadelphia, Pa. 

The* Ninth Annual Convention of the Interna¬ 
tional Photo-Engravers’ Union of North America 
extend to you and your family the most sincere 
expressions of sympathy on account of the death 
of Mr. Frank Manning. Respectfully yours, 

H. E. Gudbrandsen. 

The following letter from Gatchel & Manning, 


September 8-12, 1908 

Philadelphia, Pa., was received: 

Philadelphia, Pa., Sept, g, 1908. 
International Photo-Engravers’ Union of N. A., in 
Convention Assembled, Riccadonna Hotel, 
Brighton Beach, N. Y. 

Mr. H. E. Gudbrandsen, Secretary. 

Dear Sir—We beg to thank you for your kind 
expression of sympathy conveyed in your tele¬ 
gram on account of the death of our Mr. Frank 
E. Manning. Sincerely yours, 

GATCHEL & MANNING, 

H. A. Gatchel. 

REPORT OF COMMITTEE ON OFFICERS’ 
REPORTS. 

President’s Report. 

To the Officers and Members of the I. P. E. U.: 

Gentlemen—Your Committee on Officers’ Reports 
respectfully presents the following for your con¬ 
sideration : 

After carefully examining all accounts and re¬ 
ports of our worthy President, we concur in same, 
with a few exceptions which affect legislation that 
the convention in general is better fitted to con¬ 
cur or non-concur in than your Committee. 

The Committee wishes to commend our worthy 
President in conjunction with his co-members com¬ 
prising the Executive Council of the I. P. E. U. 
for their diplomatic, economic and effective man¬ 
ner in which they have conducted the affairs of 
this, your International body, having attained an 
economic basis never before enjoyed by this body 
from the time of its inception. 

Relative to “Apprentices,” on page 5, Officers’ 
Reports, the Committee recommends the general 
enforcement of this law. 

Relative to the appeal from George S. Busk the 
Committee recommends that it be referred to the 
Committee on Appeals. It was amended by Dele¬ 
gate Kroll, that inasmuch as Mr. Busk had as 
yet not appealed to the Local Union, that it 
should be referred to St. Louis Local No. 10. 

The amendment was carried. 

FIRST, SECOND AND THIRD VICE-PRESI¬ 
DENTS’ REPORTS. 

The Committee further heartily commends the 
reports of the First, Second and Third Vice- 
Presidents, congratulating them on their very 
earnest, faithful and effective work in behalf of 
the I. P. E. U. 

SECRETARY-TREASURER’S REPORT. 

The Committee, after carefully examining report 
of Secretary-Treasurer, which was made easy by 
the very systematic way in which all his accounts 


Continued on Dave 16 









MADE WITH A No. 1 APOCHROMAT TESSAR PROCESS LENS 

Courtesy of 

BAUSCH & LOMB OPTICAL CO. 

Rochester, New York. 












WILL SMILE 

by 

Chester Knowles 


A Short Dissertation on Halftones, Screens, and Their Relation to 
Printing—with a side-light on Minimum Charges 


W ILL SMILE was entering up 
some work left by the last 

customer when Mr. James 
Wantano dropped into the office of 
the Doem Quick Photo-Engraving 

Company. 

James is a printer of average intel¬ 
ligence. He has a fairly good photo¬ 
graph of a woman from which he 

wants a cut made. He imparts this 
information to Will Smile, whose most 
natural query is: 

“What screen do you wish us to 
use ?” 

“Screen? What do you mean by 
screen? I want a very fine cut, two 
and one half inches wide by five inches 
high. I’m going to use it in a little 
circular,” replies Wantano. 

“What kind of paper are you going 
to use?” 

“Oh, a very good paper, costing about 
eighteen cents a pound. Something on 
a buff color. One of those new rough 
artistic papers you see so much of now¬ 
adays—sort of an antique finish.” 

“I see,” says Smile; “you want a 
coarse screen cut.” 

“I don’t know anything about 

screens, but I think I want a fine 

screen cut. Is there any difference in 
the price?” 

“Oh, yes,” answered Smile; “a 

coarse screen cut is generally etched 
on zinc, and seldom costs more than 
60% as much as a fine screen which 
is etched on copper. Coarse screen on 


zinc costs about io or 12 cents a square 
inch, while fine screen on copper costs 
from 14 to 16 cents per square inch.” 

“But I really do not care what it 
costs. I want the best cut you can 
make from that copy. Now, which 
will give the best results—a coarse 
screen or a fine screen?” 

“Unquestionably a fine screen-” 

“Then that’s what I want.” 

“Let me finish what I was about to 
say,” quietly requested Willie. “A 
fine screen cut will give you a good 
result on a highly coated paper, but a 
coarse screen cut is sure to give you 
a better result on a rough stock such 
as you intend to use.” 

“Well, if you are sure of that, give 
me the coarse screen cut.” 

“Positive of it. Now, another dif¬ 
ficulty presents itself. You have your 
copy marked two and one-half inches 
by five. It will be impossible to get 
those proportions unless we crop the 
cut on each side, and if we do, it will 
be necessary to cut off the lady’s arms, 
which will produce an awkward result.” 

“No, no; I want the whole picture 
just as it is, reduced to the size I’ve 
marked. You’ll spoil it if you cut 
the arms off.” 

“Very well, then, it will be neces¬ 
sary to make it either two and one-half 
wide or five inches high. Your copy 
measures six and one-half by eight and 
one-half, and if we make it two and 
one-half wide it will fall three and one- 



PHOTO-ENGRAVING ART 


third high, and if we make it five 
inches high, it will fall three and three- 
quarters inches wide.” 

“All right. Make it up two and one- 
half inches wide by three and one-third 
high. How much will it cost?” 

“A coarse screen cut on zinc will be 
a minimum, and will cost one fifty.” 

“I thought you said it would cost 
twelve cents an inch. A cut two and 
one-half by three and one-third inches— 
let’s see—will figure out less than 
eight and one-half inches, and ought not 
to cost more than a dollar. You must 
not think that because I have dis¬ 
played a little ignorance about screens 
and proportions that I can’t count 
money.’' 

“No, I’m not endeavoring to take 
advantage of your lack of knowledge,” 
said the conscientious Smile. . “But all 
engraving houses, including ours, have 
established a minimum charge for cuts 
and-” 

“Oh, I see—formed a trust to keep 
up prices,” broke in the customer. 

“No, you misunderstand. It costs 
us a certain amount of money in time 
and material to produce a cut, and it 
actually costs more to make a lot of 
minimum cuts than it does to make 
one or two large cuts of an equal or 
even greater number of square inches.” 

“I don’t understand why.” 

“Well, let’s figure it out. Say, for 
instance, we have sixteen minimum 
cuts, all of which added together make 
one hundred square inches. They 
total up at $1.50 each, $24.00. Now, 
we take four cuts of fifty inches each, 
and at twelve cents an inch we get 
$24.00. It will be necessary to make 
sixteen exposures to make the sixteen 
minimums, but it takes only four ex¬ 
posures to make the two hundred 


inches. It takes just as long to expose 
a small copy as it does a large one. 
So you see we get as much money for 
two hundred square inches as we do 
for the hundred square inches, except 
that the two hundred square inches are 
made with seventy-five per cent, less 
effort and time than the sixteen mini¬ 
mums, for which we apparently charge 
more. This explains why we must 
make a minimum charge. Really, now, 
if we made nothing but minimum cuts 
we would have to close up shop.” 

“Well, is the minimum rate higher 
on the fine screens as you call them?” 
asked the customer, suddenly becom¬ 
ing thirsty for knowledge. 

“Oh, yes; fine screen cuts at sixteen 
cents per inch cost $2.25 for mini¬ 
mums.” 

“Why?” 

“Well, you see, fine screen cuts on 
copper are made more carefully and 
are re-etched and refinished. This is 
not necessary in zinc cuts, as it is pos¬ 
sible to get more contrast in the nega¬ 
tives for zinc etching than it is in cop¬ 
per work.” 

“All right, I’m much obliged for all 
this information. Now, how soon can 
I have my cut?” 

“To-morrow at nine A. M.” 

“Thank you; good day.” 

“Well, that was hard work for a 
cut you only get $1.50 for,” said a cus¬ 
tomer who had been waiting during 
most of the argument. “However, I’m 
glad I heard it, as I could never quite 
reconcile that minimum charge. It is 
certainly equitable when it is present¬ 
ed to one properly. You exhibited 
laudable patience.” 

“Yes, it pays to have patience in this 
business. It gets customers and it 
holds them,” said Will Smile. 




THE STUDIO OF ROSA BONHEUR — By Stephens 
Swelled G latine Process Plate. Appeared in Century Magazine, October, 1814 

THE DETERIORATION OF LINE WORK IN 
THE LAST TWENTY YEARS? 

By G. H. WHITTLE 


W ITH the enormous spread of 
the photo-engraving business 
to-day to meet the ever in¬ 
creasing output of pictorial matter in 
books, periodicals, advertisements, etc., 
etc., and the large sums of money that 
have been expended in the enlarge¬ 
ment of photographic mechanical ap¬ 
pliances and facilities, would it not be 
well to pause and consider whether 
there is a corresponding improvement 
in the quality of the work done now, 
over that of fifteen, or even twenty 
years ago. 

The illustrations here given relate to 
line-etching only: Examine carefully 
the plate “Studio of Rosa Bonheur,” 
published in the Century Magazine 


(October 1884)—a “soft” metal plate 
at that. There is a clearness and firm¬ 
ness of line and delicacy of detail which 
challenge the photographer and etcher 
of to-day to equal, in spite of the tech¬ 
nical difficulties and accidents inciden¬ 
tal to the old “swelled-gelatine” process 
of which this is an example. Certain it 
is that the enthusiasm and artistic feel¬ 
ing of the workman more than nega¬ 
tived the special obstacles he had to 
contend with. 

In the January, 1891, issue of the 
same magazine is an etching on cop¬ 
per after the drawing by Mr. Harry 
Fenn. The stipple work united with 
line here is most sympathetically re¬ 
produced and with a firmness and sure- 











ness of detail in line with clearness and 
gradation in the stipple we despair of 
seeing to-day. 

One more example, this time from a 
zinc plate after Mr. A. B. Frost’s pure 


Courtesy of the Century Co. 

THE TOMB OF EDWARD HILL 
Pen Drawing by Harry Fenn — Etched on 
Copper, appeared in the Century 
Magazine, January, 1891 

pen and ink line drawing in the June, 
1891, “Century.” Where do we find 
such refinement and perfection in the 
work of to-day. Observe how the 
artist’s, exquisitely modulated lines and 
minute but most important details of 
expressive drawing are preserved with 
the loving attention of the craftsman 
working with the feeling of an artist. 

In all art it is the quality of the 
workman that counts and in the midst 
of the rush and competition of to-day, 
are we not forgetting that he is superior 
to the machine, and that to safeguard 
him from the nervous worry, incidental 
to continuous cheap and rushed work, 
and to increase his self-respect by en¬ 
couraging his best efforts must at least 
precede all merely mechanical expedi¬ 
ents, if good artistic work is not to be 
hopelessly driven out of our reach. 


Editor’s Note— No one questions 
the fact that the art of halftone photo- 




































































PHOTO-ENGRAVING ART 


9 


engraving in one or more colors has 
been wonderfully improved and has 
reached a high state of perfection in 
the past twenty years. However, it 
must be admitted, that line work has 
shown a great decrease in quality in a 
corresponding period. 

Is the lack of quality caused by price 
cutting, inferior quality of material, 
chemicals, inexperienced or careless 
workmen, haste in production, less 
quality in original drawings or gen¬ 
eral apathy on the part of the trade 
and a feeling that line work is only a 
necessary evil with which they must 
contend in their desire to improve their 
halftone and color work. 

There is no doubt about the fact that 
the art quality is sadly lacking in the 
bulk of line drawings that are pro¬ 
duced nowadays. Where is there to¬ 


day the Vierge or the Abbey of a gen¬ 
eration ago? 

It may, be that the spirit of the twen¬ 
tieth century *— SPEED — has taken 
hold of our artists, engravers, and 
printers and that if they really tried 
they could easily improve on the re¬ 
sults obtained twenty years ago. 

Just where and how to go about it 
we must leave to those who actually 
produce the plates. Toward this end 
PHOTO-ENGRAVING ART offers a 
prize of $10.00 for the best letter cov¬ 
ering a way to improve the quality of 
line work. We expect that this sym¬ 
posium will bring out many good sug¬ 
gestions. All letters which tend to 
instruct will be printed in PHOTO¬ 
ENGRAVING ART from time to time 
and the prize awarded in May, 1909. 



Courtesy of the Century Co. 


Zinc Etching from Line Drawing by < 4 , B, Frost , in (he Century Magazine, June, 1891 , 




















A RECENT RULING ON COPYRIGHTS 


P HOTO-ENGRAVERS, publish- 
ers, editors, advertisers and all 
those who have been in the 
habit of using, borrowing or cribbing 
pictures which have been published and 
copyrighted by some one else will be 
interested in a recent decision by the 
Supreme Court. It has been the gen¬ 
eral impression that if a painting or 
picture did not show the notice copy¬ 
right with the name of the owner of 
copyright, any one had the right to re¬ 
produce it. According to the new rul¬ 
ing the published copies only need be 
so marked. 

It appears that the Berlin Photo¬ 
graphic Co. purchased the right of re¬ 
production of Sadler’s painting “The 
Chorus,” and secured the copyright. 
The picture was placed on exhibition 
at the Royal Academy, the fact that 
it was copyrighted being entered in the 
gallery salesbook, but it was not so in¬ 
dicated on the canvas. Afterwards 
the original was placed in a private col¬ 
lection and the American Tobacco Co., 
not procuring the consent of the own¬ 
ers of the copyright, reproduced the 
painting, claiming that the copyright 


not appearing on the canvas permitted 
any one to use it. The Berlin Co. op¬ 
posed this, and was supported by the 
court in the opposition. It claimed 
that “the statute could not have in¬ 
tended that the original painting be dis¬ 
figured with the notice.” The decision 
as handed down by Justice Day is as 
follows: 

“We think it was the object of the statute 
to require this inscription not upon the origi¬ 
nal painting, map, photograph, drawing, etc., 
but upon those published copies concerning 
which it is designed to convey information 
to the public, which shall limit the use and 
circumscribe the rights of the purchaser. 
It would seem clear that the real object of 
the statute is not to give notice to the art¬ 
ist or proprietor of the painting or the per¬ 
son to whose collection it may go, who needs 
no information, but to notify the public who 
purchase the circulated copies of the exist¬ 
ing copyright in order that their ownership 
may be restricted. There does not seem 
to be any purpose in requiring that an origi¬ 
nal map, chart or painting shall be thus in¬ 
scribed, while there is every reason for re¬ 
quiring the copies of editions published to 
bear upon their face the notice of the lim¬ 
ited property which a purchaser may acquire 
therein.” 

In view of the above decision re¬ 
sponsible photo-engravers, publishers 
and all those tempted to reproduce an 
unmarked picture should first endeav¬ 
or to secure a release from the artist. 


advice 


Get busy. 

4 * & 

Do to-day what you intended to put 
off till to-morrow. 

Treat every job as though the cus¬ 
tomer had said that if it wasn’t per¬ 
fect he would take his work elsewhere. 

& & 

Remember that there is always an 
engraver around the corner or across 
the street who is willing to try and 


please the customers whom you think, 
in your prosperity, that you can get 
along without. If they are good pay, 
hang on to them. 

& & 

He who is always watching the 
clock will find that the old man has 
been watching him, and should not be 
disappointed if the fellow who was 
watching his work and had forgotten 
the clock gets the large slice of melon 
when promotions are in order. 



A GOOD ENTRY SYSTEM 


A Simple Method of Entering and Keeping Track of 
Work in a Photo-Engraving Shop 


I T is claimed by those who know, or 
ought to, that there is no business 
so hard to apply a general system 
to as photo-engraving. The main 
reason for this lies in the fact that 
from the time the copy leaves the cus¬ 
tomer’s hands to its return to him with 
the finished cut, it has passed through 
no less than twelve pairs of hands, and 
often more, namely: representative, en¬ 
try clerk, foreman, artist, photograph¬ 
er, negative turner, printer, etcher, 
finisher, proofer, shipping clerk, and 
delivery boy. 

Size makes no difference, and a cut 
one inch square must go through the 
same procedure that one fifty times 
as large goes through; therefore the 
opportunity for error is always at least 
12 to i. If one person received the 
order and then carried it through to 
completion, the percentage of possible 
error would, of course, be considerably 
lessened. 



PHOTO-ENGRAVING ART pre¬ 
sents herewith a system which mini¬ 
mizes the chance for error. Of course, 
different houses are noted for special¬ 
ties. Some are high grade, some are 
mediocre, some are fast, some are 
cheap. The blank which we print here¬ 
with can be modified to fit almost any 
condition. In this particular instance 
it is used by a house which lays its 
claim to patronage to the fact that it 
is fast, and has three shifts of men 
operating twenty-four hours a day, in¬ 
cluding Sundays and holidays. Three 
shifts of men immediately suggest 
thirty pairs of hands through which 
any one copy is likely to pass. 

The necessity for a comprehensive 
system must be readily apparent. As 
no one man can possibly be foreman 
of three shifts, the system must be the 
court of last resort and must never be 
found wanting. 

The original, No. i, should be a dif- 



Original No. 1. 


Duplicate No. 2. 




































































































12 


. PHOTO-ENGRAVING ART 


ferent color from the duplicate, No. 
2. The original we will say is pink 
and the duplicate white. On the pink 
ticket all information which it is neces¬ 
sary for the shop to know is checked 
or written. That which the office 
only should know—price, credits etc.— 
is written on the white or duplicate 
slip, for which there is an extra line 
provided. 

An autographic register machine is 
used so that no matter who enters the 
work it will be possible to refer to them 
when in doubt about instructions. At 
the top there is a row of boxes which 
contain the days of the week. On the 
left there is one large box; the origi¬ 
nal is perforated so that this can be 
separated from the main ticket and at¬ 
tached to the drawing or photograph. 
There are duplicate rubber stamps pro¬ 
vided so that more than one drawing 
can be entered on the same order. If 
there should be six, each one would be 
numbered to correspond with the or¬ 
der number, and beneath it would be 
marked six. Any one picking up a 
copy could easily see that it was one 
of an order of six. As the delivery 
is of the utmost importance it is placed 
first, and is purposely made large and 
prominent. Next comes the size, then 
the screen and number of proofs, and 
finally the blocking, mortising, etc. 
All possible and necessary instructions 
are contained on this slip, and, except 
in unusual cases, are all sufficient. 

Another point which makes this sys¬ 
tem especially valuable is the fact that 
when arranged in the box which is 
described below it is possible for the 
foreman and the entry clerk to tell at 
a glance just what work has been en¬ 
tered for a certain time and day. 

The box, which is made up of in. 


and in. material, is made with 
twelve narrow and six larger divisions, 
and is made of sufficient height and 
width as to allow the slips to extend 
just far enough to be easily seen. 



The six large sections are for the 
days of the week and the twelve small¬ 
er ones the hours of the day. They 
commence with eight and run on to 
seven. 

As the work is entered the clerk can 
see at a glance whether or not too 
many cuts are promised for any one day 
or hour. If a customer asks for a 
special rush, before a definite promise 
is made, the foreman can be communi¬ 
cated with and the possibility ot a 
rash promise eliminated, because by 
glancing at his file he can easily see 
just what the possibilities are. Keep¬ 
ing old customers in preference to se¬ 
curing new ones is always the best 
policy. The tendency, however, is to 
scramble to please a transient cus¬ 
tomer, who, if he is pleased, may be 
turned into a regular patron. If the 
clerk can make what appears to be an 
ofif-hand promise and then make good 
the customer is likely to be impressed 
by the service, and a pleased photo¬ 
engraving customer is, without doubt, 
the best advertisement. 

I11 addition to being an assistance by 
simplifying the movement of work 
through the shop, this system is a splen¬ 
did check for billing purposes. When 
the work is completed the pink ticket 




PHOTO-ENGRAVING ART 


13 


is removed from the foreman’s box and 
sent to the office with the flat proofs. 
There the white slip is placed with 
the pink ticket and the receipted de¬ 
livery slip. After the bill has been 
made out all the slips and flat proofs 
are numbered to correspond with the 
invoice number and filed in a vertical 


file for possible future reference. 

If a white slip remains in the entry 
clerk’s box too long a query is sent 
into the shop regarding the work and 
can be immediately answered to the ef¬ 
fect that either the work is uncom¬ 
pleted or has been finished but not 
billed. 


PROGRESS DEPARTMENT 

NEGATIVE COLLODION FROM TAX FREE ALCOHOL 


I T is now some little time since the Gov¬ 
ernment has allowed the use of pure 
alcohol free of tax, when suitably de¬ 
natured, for the manufacture of photo-col¬ 
lodion. It has only recently come within 
reach of photo-engravers for the reason 
that they have been obliged to look to 
various chemical manufacturers to give them 
the benefit of the new law by supplying the 
tax free alcohol in the form of an acceptable 
collodion base. 

There have been two formulas authorized 
by the Commissioner of Internal Revenue 
for denaturing pure alcohol for use in 
making photo-collodion. This alcohol is 
all denatured under Government supervi¬ 
sion at the denaturing warehouse of the U. 
S. Industrial Alcohol Co., the distillers, at 
Peoria, Ill. 

The first formula authorized was com¬ 
posed as follows: To ioo gallons pure al¬ 
cohol it is necessary to add ioo lbs. ether, 
three pounds cadmium iodide and three 
pounds ammonium iodide. The ammonium 
iodide, however, is one of the most 
unstable and delicate of the chemical 
salts, and its use as a denaturant 
has been looked upon with much disfavor. 
The second formula omits the ammonium 
iodide, and is composed as follows: To ioo 
gallons of pure alcohol shall be added ioo 
lbs. of ether and io lbs. of cadmium iodide. 
The use of an alcohol denatured according 
to the above formulas is confined to the 
manufacture of a photo-collodion, and a 
photo-collodion sold on the market as such 
should contain as much as one and a quar¬ 
ter ounces of cotton per gallon to properly 


meet the requirements of the law. 

The chemical manufacturers are beginning 
to realize the impossibility of successfully 
marketing the collodion that would be made 
up from a set formula as to the kind and 
quantity of cotton used, for the reason that 
the average photographer will use only his 
favorite brand of negative cotton, and this 
will vary in quantity from one and a quar¬ 
ter to two ounces of cotton per gallon, ac¬ 
cording to the individual photographer. The 
chemical manufacturers have also foreseen 
the impossibility of marketing a finished 
negative collodion, and have, in fact, seemed 
rather loath to take up the matter at all. 

The photo-engraving trade is, however, 
never lacking in enterprise. “Uncle Sam” 
had offered them an alcohol free of tax, and 
they were bound to have it. A negative 
collodion, however, is of the most vital im¬ 
portance to the photographer and cannot be 
trifled with. It must be made up to suit 
each individual operator, and this is an item 
which needed much careful study. The mat¬ 
ter was eventually taken up by a number of 
the photo-engravers with the Geo. A. Er- 
kenbrach Co. of New York, and was care¬ 
fully studied in an experimental way for 
two months. Having thus the advantages 
of both the laboratory and gallery tests at 
its command the Erkenbrach Co. is now 
marketing a negative collodion base that 
seems to be giving general satisfaction, hav¬ 
ing adopted the simplest possible formula 
containing one-half pure alcohol, one-half 
ether, two and 73- too grains cadmium iodide 
per liquid ounce, and cotton of the kind 
and quantity as ordered by the operator. 




14 


PHOTO-ENGRAVING ART 



$ubligt)tt> Jfflontftlp in tfje Unteresta ol iflafetra anti ®«er* 
of $boto-€ngrabing. 

Fred. J. Willock.Editor. 

THE HILLSIDE PRESS 
Publishers, 

Richmond Hill, New York. 


To insure the return of unavailable manu¬ 
script return postage should be en¬ 
closed. 


Subscriptions—United States and Canada 
$ 1.00 per year, single copies io cents. 
Foreign countries, $ 1.50 per year, single 
copies 15 cents. 


NOVEMBER. 


OUR POLICY. 

Independence. 

We feel that there is room and a 
field for a magazine to represent the 
photo-engraving trade artistically and 
practically. 

We intend to fill it. 

We are going to make PHOTO¬ 
ENGRAVING ART a helpful month¬ 
ly magazine which subscribers will look 
forward to with pleasure and interest. 

It is our desire to produce a maga¬ 
zine whose excellence from a typogra¬ 
phical standpoint will be unsurpassable. 

We will not try for a big, bulky 
magazine, but rather will make a spec¬ 
ial effort to keep the size down. 


It is our intention to give you a 
magazine which you will read from 
cover to cover and then want more. 

We will endeavor to not give you so 
much each month that you will say 
to yourself as you lay it aside: “That 
looks like good stuff, I’ll read it when 
I get time.” What we will give you. 
however, will be good, instructive read¬ 
ing and helpful discussion. 

The value of PHOTO-ENGRAV¬ 
ING ART to you should be measured, 
not by the amount of good matter we 
give you, but how much you take ad¬ 
vantage of. 

We are hungry for interesting notes 
and news of conventions and doings 
of the allied trades and would appre¬ 
ciate having the secretaries send us 
any matter which in their judgment 
will be of interest to our readers. 

Our ^columns will be open at all 
times to discussion by employer or em¬ 
ployee. 

-H— 

On page four is an excellent repro¬ 
duction of a silver manicure set, made 
with a Bausch & Lomb Apochromat 
Tessar Process Lens, and is reprinted 
from their catalogue of Photo-Engrav¬ 
er’s Accessories. 

*** 

NOTES. 

Williams-Lloyd Machinery Company have 
put a complete electrotype plant in the Rand- 
McNally branch at Ossining. N. Y. 

& 

The plant of the Davidson Engraving Co., 
bankrupt, was sold at auction by Charles 
Shongood, U. S. Auctioneer, October 9 , 1908 . 

4 * 

Robert Mayer & Co., the lithographing sup¬ 
ply house, has recently issued a fine catalogue 
of inks and colors that should be in every 
printer lithographer’s hands. The colors and 
tints are perfect and are handy for compar¬ 
isons. 














PHOTO-ENGRAVING ART 


15 


The fact that there are already nearly fifty 
engraving establishments on Manhattan 
Island and the very unsettled state of the 
money market does not seem to have a dis¬ 
couraging effect on practical men, as is evi¬ 
denced by the fact that two new engraving 
companies have been started in the last 
month: The Farmer-Zehr Company, 165 

William Street, and the Co-Operative En¬ 
graving Co., 6 Park Place. Wesel Mfg. Co. 
supplied all the machinery for the latter 
firm. 

A* 

The Presidential election had the effect of 
once more unionizing the Zeese-Wilkinson 
shop. The Republican Campaign Committee 
placed an order for $100,000 worth of pictures 
of Taft and Sherman and when Zeese-Wil¬ 
kinson delivered the first consignment, 
amounting to $10,000, they were rejected 
because of the absence of the label. Bing! 
Zeese-Wilkinson Co. saw a great light, and 
soon had a union shop. 

A* 

We are in receipt of a booklet from the 
Eclipse Electrotype & Engraving Co., of 
Cleveland, O. It is rather a simple get up, 
but contains some very extraordinary names 
of towns which one would never suspect 
existed in the United States. The front and 
back pages are devoted to the usual bid for 
business and while ordinary in composition 
are sure to be read with interest after one 
tries to make sense of or pronounce the jaw¬ 
breaking names in the main part of the book. 

A* 

On September 14, the New York Photo- 
Engravers’ Ex-Delegates’ Association, assist¬ 
ed by the F. Wesel Manufacturing Company, 
gave an outing and dinner to visiting dele¬ 
gates. The outing took the form of a tour 
of Coney Island. At the salesrooms of the 
Wesel Company, with the other photo-en¬ 
graving machinery usually in stock, was 
shown the company’s new Rotary Diagonal 
Planing Machine, and the Drill and Block¬ 
ing Machine, both of which are time-savers 
for cut-makers, and exacted many favorable 
comments by the men who viewed them. 

A* 

The Powers Photo Engraving Co. added 
the N. Y. Tribune to its list of newspaper 
customers in October. They now handle all 
the work of a majority of the New York 
newspapers which do not maintain their 
own photo-engraving plants and many daily 
and weekly New Jersey and Connecticut 


papers. Powers plant is open 24 hours every 
day—Sundays and holidays included. They 
have a record of 14 minutes for a 
halftone and 15 minutes for a line cut. Their 
slogan is “The Fastest Engravers on Earth,” 
and they seem to live up to it. 

AH' 

The Curtis Publishing Company pays a 
cent a pound more than the list price for the 
paper used in the Ladies Home Journal. 
When it is known that more than twenty 
carloads of paper are necessary to produce 
a single edition, it must be apparent that it 
is considered goo’d business policy to guard 
against possible inferior goods by the pur¬ 
chaser voluntarily increasing the price he is 
asked to pav. There is no question but that 
if the ordinary buyer of nhoto-engraving 
would follow in the Curtis Company’s foot- 
steos the nualitv of bne and halftone engrav¬ 
ings would soon be improved. 

A* 

Gatchel & Manning are “right on the job,” 
when it comes to helping the fellow far away 
from the scene of operations. Their little 
booklet on “The Blue Print, The Artist, and 
The Halftone,” and “Methods of Illustrating 
Machinery,” are fine examples of conciseness. 
They are short, instructive and to the point, 
and should be good business bringers. The 
foot rule, the last to arrive with its simple 
rule of reduction: “Multiply required dimen¬ 
sion of plate (heighth or width) by the oppo¬ 
site dimension (width or heighth) and divide 
by remaining dimension of conv and the re¬ 
sult will be the dimension of the plate.” will 
be a valuable aid to many people to whom the 
rule of proportion, which whde simple to the 
initiated, is often a hard nut to crack. 

A* 

R. Hoe & Co., the famous New York and 
London inventors and press builders, have 
designed, constructed and installed for the 
Frank A. Munsey Company a mammoth mag¬ 
azine color press, capable of printing 384 pages 
of magazine size at every revolution of its 
cylinders. The web of paper may be printed 
in four colors on both sides, in perfect reg¬ 
ister, and everything is delivered associated 
and folded without smut or offset. The press 
is an achievement of which the Hoe Company, 
with all its numberless advances in printing 
presses, may well be proud, and may mark 
the character of press on which in future all 
the high-circulation American magazines will 
be printed. 


16 


PHOTO-ENGRAVING ART 


Continued from page 3 


and reports were kept, concur in same. We 
would especially recommend to the Convention as¬ 
sembled that part of the Secretary’s report per¬ 
taining to placing of the 1 . P. E. U. finances to 
the end that such measure may be taken and laws 
enacted that will put it within the province of 
the Executive Council to invest such moneys in 
such manner as suggested by the Secretary-Treas¬ 
urer in his report. Fraternally yours, 

WILLIAM IT. ZEHR, Chairman. 

H. F. WHITE, Secretary. 
WALTER R. BURNS, 

TOHN P. SIMONDS, TR. 

H. F. TACOBI. 

RFPORT OF THE COMMITTEE ON LAWS. 

Proposition No. 17, by Delegate John P. 
Simonds. Jr., Boston, No. 3. 

Amend Article XX, Section 1, by striking out 
the words on the tenth line, “but not on the 
printing surface of same,” making the section read: 

“The label,' stamp or device used and intended 
to be used by this Union for the purpose of dis¬ 
tinguishing the products of the labor of the mem¬ 
bers of this Union” shall consist of a steel die 
containing the letters I. P. E. U., together with 
the number of said label. The imprint shall be 
placed on the bevel, cuts without bevel wherever 
applicable. The label may appear on the print¬ 
ing surface whenever it will promote the interests 
of our craft. Said label shall be of the follow¬ 
ing design: 

Adopted as amended by Committee. 

Proposition No. 25, by Delegates Robert C. 
Kroll and L. E. Ostrander, St. Louis, No. 10. 

Amend Article XX by adding the following sec¬ 
tions: 

Section 6. The I. P. E. U. label may be stamped 
on such cuts only as are made in their entirety 
by members of this Union. 

Sec. 7. No employer who has his photo-engrav¬ 
ing done whollv. or in part, by others than mem¬ 
bers of this Union shall be permitted to use the 
label. 

Adopted. 

Proposition No. 66. by Delegates H. F. Jacobi 
and A. Sloan. Chicago, No. 5. 

Amend Article XX, Section 5, by adding to 
this section the following: “and that all engrav¬ 
ings to be used in behalf of our organization, 
Local or International, must be stamped with the 
T. P. E. U. label,” making the entire section 
read: 

Sec. 5. It is enjoined upon all subordinate 
Unions that they use every possible effort to pro¬ 
mote the use of the I. P. E. U. label on all en¬ 
gravings made in Union shops by Union members, 
and that all engravings to be used in behalf of 
our organization, Local or International, must be 
stamped with the I. P. E. U. label. 

Adopted. 

Proposition No. 71, by Delegates Hoffert and 
Schussler, Chicago, Ill. 

Article XX. Section 1. The label stamp or de¬ 
vice used and intended to be used by this Union 
for the purpose of distinguishing the product of 
the label of the members of this Union shall con¬ 
sist of a steel die. containing the letters I. P. 
E. U., together with the number of said label. 
The imprint shall be placed on the bevel, cuts 
without bevel wherever applicable, or on the block, 
if necessary. The label mav appear on the 
printing surface whenever it will promote the in¬ 
terests of our craft. Said label shall be of the 
following design: 



Adopted a* amended by Committee. 


Proposition No. 35, by Delegate Andrew J. Gal¬ 
lagher, San Francisco, No. 8. 

Amend Section 6 of Article XIY by inserting: 
“It is also ordered that all local Unions affiliate 
with the nearest central body of the American 
Federation of Labor,” making the entire section 
read: 

Section 6. Whenever an allied Trades Council 
exists within the jurisdiction of a subordinate 
Union it shall be compulsory for said subordinate 
Union to unite with said Council. 

It is also ordered that all local Unions affiliate 
with the nearest central body of American Fed¬ 
eration of Labor. 

Adopted. 

Proposition No. 37, by Delegate A. J. Gal¬ 
lagher, San Francisco, No. 8. 

Add new section to Article XIV, to be known as 
Section 14, and to read: 

Section 14. Any member alleged to have been 
guilty of any conduct not becoming a member, 
whilst in possession of a withdrawal card, shall 
be subject to trial in accordance with local laws, 
and if his offense be such as to preclude his 
readmittance in the local Union, the case may be 
referred to the International Union for decision 
in the matter, and their decision shall be binding, 
subject to appeal to the next Convention. 

Adopted. 

Proposition No. 41, by Delegate Andrew J. Gal¬ 
lagher, San Francisco. No. 8. 

Amend Article VI, Section 1, by inserting after 
the words “Executive Council” on the ninth line, 
“and they shall all assemble at least once a year,” 
making Section 1 read: 

The elective officers of the International Photo- 
Engravers’ Union of North America shall be a 
President, First, Second and Third Vice-Presi¬ 
dents, and Secretary-Treasurer. They shall be 
elected at the regular Convention and serve for 
one year (or until their successors have quali¬ 
fied) and thev shall constitute the Executive Coun¬ 
cil, and shall all assemble at least once a year. 
All officers of the Union shall at the expiration 
of their term of office, or on demand, turn over 
to the Union all properties in their possession 
belonging to the Union. 

Adopted as amended by the Committee. 

Proposition No. 64, by Delegates H. F. Jacobi 
and A. Sloan, Chicago, No. 5. 

Amend Article XV., Section 6, by adding to this 
section the following: “and file a monthly report 
to the International President of all matter per¬ 
taining to and concerning the interest of Photo- 
Engravers,” the entire section as amended to read: 

“Article XV. Sec. 6. Whenever an Allied Trades 
Council exists within the jurisdiction of a subordi¬ 
nate Union it shall be compulsory for said subor¬ 
dinate Union to unite with said Council and file a 
monthly report to the International President of 
all matter pertaining to and concerning the in¬ 
terest of Photo-Engravers.” 

Adopted. 

Proposition No. 68, by Delegates H. F. Jacobi 
and A. Sloan, Chicago, No. 5. 

Add to general laws: “An appeal for financial 
aid from a local Union to subordinate Union shall 
first be aproved by the Executive Council.” 

Adopted. 

Proposition No. 84, by Delegate A. Andonian, 
New York. No. 1. 

Amend Article XI by adding: 

All appeals from the decision of subordinate 
unions shall be outlawed, unless submitted within 
one year from the time such appeals are taken 
by a member or members of a subordinate union 
for the final judgment of the International Photo- 
Engravers’ Union, making the whole section read: 
ARTICLE XI. 

Appeals. 

Section 1. All appeals from the decision of a 
subordinate union shall be submitted to the Presi¬ 
dent of the International Photo-Engravers’ Union, 
accompanied by a receipt in full for all indebted¬ 
ness to the local Union, and a decision rendered 
by that officer. Should either party feel ag* 
grieved at the decision of the President of the 
International Photo-Engravers’ Union he shall have 
the right to appeal to the Executive Council, and 







PHOTO-ENGRAVING ART 


17 


if not satisfied with the verdict of the latter body 
he shall be permitted to present his case to the 
International Photo-Engravers’ Union at regular ses- 
sion, which judgment shall be final. All appeals 
irom the decision of subordinate unions shall be 
outlawed, unless submitted within one year from 
the time such appeals are dated by a member or 
members of a subordinate union for a final judg¬ 
ment of the International Photo-Engravers’ Union. 

Moved and adopted that this law go into effect 
■at once. 

REPORT OF COMMITTEE ON RESOLUTIONS. 

Proposition No. 3, by Delegate P. J. Brady, New 
York, No. 1. 

RESOLVED, That the International Photo-En¬ 
gravers’ Union, in Convention assembled, does 
hereby protest against the use of injunctions in 
labor disputes, believing that the writ of injunc¬ 
tion was never intended to restrain men from ex¬ 
ercising their constitutional liberties, and we hearti¬ 
ly endorse any action of the American Federation 
of Labor which will eradicate this abuse. 

Adopted as amended by Committee on Resolu¬ 
tions. 

Proposition No. 4, by Delegate P. T. Brady, New 
York, No. 1. 

TARIFF REVISION. 

WHEREAS, It is now impossible, owing to the 
low tariff on Photo-Engravings, and their products, 
for the Photo-Engravers of the United States to 
compete with the cheap labor of foreign coun¬ 
tries, therefore, be it 

RESOLVED. By this Convention, that the Ex¬ 
ecutive Council be instructed to enter into nego¬ 
tiations with all other branches of the printing 
industry, including the employers’ associations, to 
have the tariff revised so that the American work¬ 
man will get proper protection. 

Adopted. 

Proposition No. 5, by Delegate P. J. Brady, New 
York, No. 1. 

UNIVERSAL FORTY-EIGHT HOUR WEEK. 

WHEREAS, Certain locals under the jurisdic¬ 
tion of the International Photo-Engravers’ Union 
are still working over forty-eight hours per week 
to the detriment of all other locals that have es¬ 
tablished a forty-eight hour week, especially those 
situated near by, therefore, be it 

RESOLVED, That the forty-eight hour clause 
be inserted in all future agreements between local 
unions and their employers, and be it further 

RESOLVED, That the Executive Council see 
that the above resolution is strictly enforced. 

Adopted. 

Proposition No. 6, by Delegate P. J. Brady, New 
York, No. 1. 

UNION LABEL. 

RESOLVED, That our International President 
be instructed by this Convention to communicate 
with the International Presidents of the Internation¬ 
al Typographical Union, the International Stereo¬ 
typers’ and Electrotypers’ Union, the Internation¬ 
al Printing Pressmen and Assistants’ Union, and 
the International Brotherhood of Bookbinders with 
the object in view of devising some system of 
placing the label on work so that it will be a 
guarantee that it is the product of Union labor 
throughout. 

Adopted. 

Proposition No. 7, by Delegate P. J. Brady, New 
York, No. 1. 

ALL CONVENTIONS TOGETHER. 

RESOLVED, That our Executive Council be in¬ 
structed to enter into negotiations with the other 
branches of the printing trades, with the intention 
of getting them to hold their conventions at the 
same time and place; to be mutually agreed upon 
by them all. 

The Committee recommended that it be referred 
to the Executive Council. 

Adopted. 

Proposition No. 9, by Deegate John P. 
Simonds, Jr., Boston, No. 3. 

Joint Ownership of the Allied Label. 

WHEREAS, We have not received the proper 
protection of the Allied Label, be it 

RESOLVED. That this Convention demand the 
joint ownership of the Allied Label. That the 
said Label shall be the property of the Joint Con¬ 


ference Board. That all revenue derived from 
sale of Label shall be the property of the Joint 
Conference Board. That the expense of protect¬ 
ing and prosecuting the unlawful use of the Label 
shall be borne by the respective organizations co- 
jointly of the Joint Conference Board. 

Proposition No. 9.—The Committee recommended 
that the sense of the resolution be concurred in 
and they recommended same to be referred to the 
Executive Council for their consideration. The 
recommendation of the Committee was concurred 
in. 

Proposition No. 33, by Delegate P. J. Brady, New 
York, No. 1. 

RESOLVED, That our Executive Council allow 
no scale contract or agreement to be made by any 
local Union with any newspaper or newspaper 
syndicate unless that said newspaper or newspaper 
syndicate agrees in the event of them syndicating 
their work to make one plate for their own use 
and one for the use of their syndicate. 

Proposition No. 33.—The Committee recommend¬ 
ed that the Convention concur in the sense of the 
resolution, but that the enforcement of same be left 
to the discretion of the Executive Council. 

The Committee’s recommendations were con¬ 
curred in. 

Proposition No. 49, by Delegate M. McDonnell, 
Cincinnati, No. 13. 

RESOLVED, That as the South is in a disor¬ 
ganized state that the International Photo-Engrav¬ 
ers’ Union of N. A. take some action toward 
sending an organizer through that territory and 
reorganize the entire South. That this Interna¬ 
tional Convention endorse the plan of all union de¬ 
partments in publishing houses signing agreements 
simultaneously; thereby unions can be of assistance 
to each other. 

Adopted as amended by Committee. 

Proposition No. 50, by Delegates Robert C. Kroll 
and L. E. Ostrander, St. Louis, No. 10. 

RESOLUTION. 

RESOLVED, That the Executive Council of this 
Union enter into negotiations with the Internation¬ 
al Stereotypers’ and Electrotypers’ Union with the 
view to securing an agreement or understanding 
with that Union, whereby its members will be 
prohibited from doing routing and blocking which 
properly belongs to members of the I. P. E. U., 
and that in return our members shall be enjoined 
from doing such routing and blocking as properly 
belongs to members of the I. S. & E. U. 

Concurred in and placed on file. 

Proposition No. 51, by Delegates Robert C. Kroll 
and L. E. Ostrander, St. Louis, No. 10. 

RESOLVED,. That our representative on the 
Joint Conference Board be instructed to present to 
that body the following amendment with the object 
of incorporating same into its agreement: 

“In all cases where photo-engraved cuts are used 
in printed matter bearing the Allied Printing 
Trades Council label all such photo-engraved cuts 
must bear the union label stamp of the Internation¬ 
al Photo-Engravers’ Union, and in no case shall the 
Allied Printing Trades Council label be permitted 
on printed matter having photo-engraved plates not 
bearing the International Photo-Engravers’ Union 
label. This section shall not require the Inter¬ 
national Photo-Engravers’ Union label to appear on 
any duplicate plate made by other processes than 
photo-engraving.” 

Adopted. * 

Proposition No. 52, by Delegates Robert C. Kroll 
and L. E. Ostrander, St. Louis, No. 10. 

RESOLVED, That this Convention urges all local 
Unions to provide a chapter in their Constitutions 
and By-Laws to regulate the use of the label in 
shops under their respective jurisdictions; and that 
no Union relinquishes the right to take up any 
label when conditions warrant such action. 

Adopted. 

Proposition No. 53, by Delegate Andrew J. Gal¬ 
lagher, San Francisco, No. 8. 

RESOLVED, By the International Photo-Engrav¬ 
ers’ Union of North America, in Convention as¬ 
sembled this day of September, 1908, that the terms 
of the Chinese exclusion act should be enlarged and 
extended so as to permanently exclude from the 
United States and its insular territory all classes 


18 


PHOTO-ENGRAVING ART 


of Asiatics other than those exempted by the pres¬ 
ent terms of that act; further 

RESOLVED. That these resolutions be submitted 
through the proper avenues to the Congress of the 
United States with a request for favorable consid¬ 
eration and action by that body. 

Proposition No. 54, by Delegate A. J. Gallagher, 
San Francisco, No. 8. 

Moved: That the International Photo-Engravers’ 
Union of North America heartily endorses the 
course, policy and action of President Gompers 
and his associate members of the Executive Council 
of the American Federation of Labor in pointing 
out to the wage earners of our country the proper 
course for them to pursue in the coming Presiden¬ 
tial campaign, and the proper way to cast their 
votes on election day in November next, in order 
that their constitutional rights and interests may 
be preserved. 

Adopted. 

Proposition No. 60, by Delegate Glenn, Phila¬ 
delphia, No. 7. 

RESOLVED, That we, the delegates in Conven¬ 
tion assembled, give endorsement to the policy of 
our International officers for 1908, and that we 
pledge ourselves to lend every aid to our incoming 
officers. 

Adopted as amended by Committee on Resolu¬ 
tions. 

Proposition No. 72, by Delegates Schussler and 
Hoffert. Chicago, No. 5. 

RESOLVED, That the International Secretary be 
and is hereby authorized to procure a copy of 
Union labels now in use in order that we may 
publish a gallery of labels regularly in the Official 
Journal, and be it further 

RESOLVED, That we call upon Unions using 
engravings to see that the I. P. E. U. labels be 
stamped on the surface of the plate. 

Referred to Executive Council. 

Proposition No. 73, by Delegate N. F. White, 
Des Moines, No. 25. 

RESOLUTION. 

There shall be no out of w T ork list furnished em¬ 
ploying photo-engravers except through secretary 
of local under whose jurisdiction such person or 
persons need employment. 

Adopted. 

Proposition No. 74, by Delegate Otto E. Rumpel, 
Detroit, No. 12. 

RESOLVED, That at future conventions the 
delegates each contribute the sum of $10, this to 
be turned into the Local Entertainment Committee, 
and that the International appropriate the sum of 
$200 for the same purpose, so as to encourage locals 
to ask for conventions, so that they may be bene¬ 
fited thereby. 

Adopted. 

Proposition No. 75, by Delegate W. H. Birming¬ 
ham, Rochester, No. 22. 

RESOLUTION. 

RESOLVED. That the Executive Council of the 
I. P. E. TJ. be empowered to purchase one (1) 
or more “Portable Photo-Engraving” plants to be 
owned by the I. P. E. U. and to be used as a 
means of defense in case of strikes or lockout. 

Adopted. 

™’PORT OF COMMITTEE ON SUBORDINATE 
UNIONS. 

Proposition No. 86, by Delegate H. E. Kenni- 
son, Denver, No. 18. 

RESOLUTION. 

Moved that this Convention donate Denver No. 
18 the sum of $250 out of such fund as may be 
allowed by law, to reimburse Denver Local foi 
moneys paid out for the care of members afflicted 
with tuberculosis. 

Moved that Two Hundred and Fifty Dollars 
($250.00) be paid by the International Secretary- 
Treasurer to the Denver Local. 

Carried. 

Pronosition No. 87—The Committee reported fa¬ 
vorably and recommended that the Executive Coun¬ 
cil be given full power to act. 

Moved to concur. 

It was amended that he be instructed to appeal 
to the Executive Council and they to act as they 
may see fit. 

Amendment to the amendment—That the I. P. 


E. U. loan One Hundred Dollars ($100.00) to Mil¬ 
waukee Local No. 19 on a note and the collection 
of same to be left to the discretion of the Executive 
Council. 

Carried. 

Proposition No. 91, by Delegates Schussler, Ja¬ 
cobi, Sloan and Hoffert, of Chicago, No. 5. 

WHEREAS, The Metal Plate Workers of the 
City of Chicago are desirous of affiliating with the 
International Photo-Engravers’ Union of North 
America; therefore be it 

RESOLVED. That the Executive Council be in¬ 
structed to take the matter up with the Metal 
Plate Workers and report their findings to the 
general body with recommendations. 

Adopted. 

REPORT OF THE COMMITTEE ON TUBER¬ 
CULOSIS. 

Proposition No. 19, by Chairman Stinson of Com¬ 
mittee on Tuberculosis. 

Amend General Laws by the addition of a new 
Section: 

TTTTjrDrTTT OCTC lrP'MP'FTTS 


Any member of a subordinate Union who may 
become afflicted with tuberculosis shall be entitled 
to care and treatment at such sanitariums as are 
approved of and selected by the I. P. E. U. of 
N. A. for such purposes, provided that such mem¬ 
ber shall have been in continuous good standing in 
the International Photo-Engravers’ Union of North 
America for a period of six months preceding his 
illness; this proviso not to apply to regularly in¬ 
dentured and registered apprentices becoming jour¬ 
neymen members. Members applying for tubercu¬ 
losis benefits shall fill out a blank form provided 
for that purpose and present the same to the officers 
of his local union. Said officers shall then refer 
the applicant to a local physician for examination 
and shall insist upon receiving a written report, 
covering the applicant’s case, from said physician. 
The local officers shall then fill in the application 
with their signatures under the seal of the union 
and forward the application, together with the 
physician’s report, to the President of the Inter¬ 
national Photo-Engravers’ Union of North America, 
who shall take immediate action regarding the 
same. 

Referred to Committee on Tuberculosis. 

Proposition No. 20, by Chairman Stinson, of Com¬ 
mittee on Tuberculosis. 

Amend Article XII, Section 3, making the entire 
section read: 

Sec. 3. Every member shall pay the Internation¬ 
al Photo-Engravers’ Union 35 cents per capita tax 
monthlv, 50 cents quarterly dues and 50 cents 
quarterly to the Tuberculosis Fund, which becomes 
due the first month of the quarter, and on pay¬ 
ment of the same shall receive from the local 
Union in which membership is held International 
Due Stamps so canceled by the local officers so as 
to indicate the month or months and quarter or 
quarters for which International Dues have been 
paid. 

Referred to Committee on Tuberculosis. 

Proposition No. 21, by Chairman Stinson, of Com¬ 
mittee on Tuberculosis. 

Amend Article XII, Section 2, making the en¬ 
tire section read: 

Sec. 2. The revenue of the International Photo- 
Engravers’ Union of North America shall be de¬ 
rived as follows: From charters to subordinate 
Unions, $10 per charter; from necessary supplies 
at prices to be fixed bv law, thirty-five cents 
monthly dues paid to the International Union from 
subordinate Unions as provided in Article XII, 
Section 3, fifty cents at the end of every quarter 
for the Defense Fund and fifty cents at the end 
of every quarter for the Tuberculosis Fund. The 
monthlv dues are payable monthly to the Inter¬ 
national Union on or before the third Monday in 
each month. The quarterly dues are payable on 
or before the third Monday of the last month of 
the quarter in which they become due. Money so 
received from subordinate Unions shall be im¬ 
mediately receipted for by the Secretary-Treasurer. 
Returns from subordinate Unions under seal shall 
be made monthly to the Secretary-Treasurer, stating 
the number of members and the amount forwarded 
to the order of the International Union. 


PHOTO-ENGRAVING ART 


19 


©ualttp tn tfje J^epttoe 



#TT The making of the photographic negative is 
□J not only the first but the most important 
step in the mechanical processes involved in 
photo-engraving. A chain is no stronger than 
its weakest link, and by the same reasoning you 
can’t get the quality in your finished product 
unless you have it at the start. That means 
your lens must be right. With a 


#oerj “$roces& Bagor” 


you are insured of the necessary quality in the 
negative. It is specially designed to meet the demand which improved methods 
in half-tone and process work have created. It is completely corrected or stigma- 
tism, is free from coma, axial and marginal spherical aberration. It is faster than 
ordinary process lenses, working at F. 7. 7. The field of view covered sharply 
at full opening is 60 degrees. The lens is used by leading process workers 
throughout the country, and its every-day work is its best recommendation. 

Especially suitable for three-color work. 


Address dept. K for booklet describing the lens, also our liquid filters and mounted reversing 
prism for process workers. We would also be glad to send samples of work done with this lens. 


C. II. <©oet? American Optical Co. 52 Union €., iSeto gork 


Proposition No. 22, by Chairman Stinson, of Com¬ 
mittee on Tuberculosis. 

Amend Article VIII, Section r, by inserting 
after the words “his office” on the forty-third line 
“he shall have direct authority and supervision 
over the Tuberculosis Department, and shall be 
empowered to appoint an advisory visiting commit¬ 
tee when deemed necessary,” making the entire 
section read: 

ARTICLE VIII. 

Duties of Officers. 

Section 1. The President.—The President shall 
attend and preside at all meetings of the Inter¬ 
national Photo-Engravers’ Union during his term 
of office; he shall have the casting vote whenever 
there shall be an equal division on any question, 
except where he shall have voted on the call of 
the yeas and nays; he shall at all times exercise a 
general supervision over all officers of the Inter¬ 
national Photo-Engravers’ Union, requiring a 
faithful performance of duties and a strict and 
businesslike manner of keeping all accounts, paying 
out money and conducting correspondence; he shall, 
with the Secretary-Treasurer, see that all moneys 
belonging to the International Photo-Engravers’ 
Union, exceeding the sum of $50, are properly 
deposited in a responsible bank to the credit of 
the International Photo-Engravers’ Union, and 
money shall be drawn from such bank only by 
check signed by him and the Secretary-Treasurer, 
and only then when fully satisfied that such money 
is lawfully and justly due the person or persons 
for whose benefit the check is drawn; he shall ap¬ 
point an Auditing Committee of three to examine 
and audit the accounts of the Secretary-Treasurer, 
quarterly for the quarters ending January 31st, 
April 30th, July 31st, October 31st, of each year, 
said committee to be composed of members of the 
local Union of which the Secretary-Treasurer is a 
member; he shall at the close of each vear see 


that the accounts of the Treasurer with such bank 
are balanced, and a sworn statement to that effect 
shall be published, together with all receipts and 
disbursements of the International Photo-Engrav¬ 
ers’ Union; he shall be chairman of the Executive 
Council, and preside at all meetings, and shall have 
the right to vote upon all questions submitted to 
it; he shall properly discharge the duties of his 
office; he shall have direct authority and super¬ 
vision over the Tuberculosis Department, and shall 
be empowered to appoint an Advisory Visiting 
Committee when deemed necessary; he shall, with 
the sanction of the Executive Council, appoint, 
oversee and direct the operations of organizers; he 
shall have authority, should he become satisfied 
that any officer is derelict in the performance of 
any duty, or has been guilty of any dishonest act, 
to suspend such officer from his official position. 
In such event he shall furnish the officer so sus¬ 
pended with a detailed statement of his reasons 
for so dome, and shall also forward to the Vice- 
President a similar detailed statement, who shall 
thereupon appoint a committee of three of the Ex¬ 
ecutive Board to try such suspended official upon 
the charges presented by the President, and in 
accordance with a law to govern impeachment and 
trial; he shall, before accepting the official bond of 
any officer, be satisfied that such bond is valid and 
in proper form, and for that purpose he is here¬ 
by empowered and instructed to take competent 
legal advice upon the matter; he shall, in case of 
mismanagement or misappropriation of any funds 
of this Union by any official charged with the cus¬ 
tody, collection and disbursement thereof, at once 
proceed to collect the same from the official in de¬ 
fault, or, in the event of the failure of such of¬ 
ficial to make good such deficiency, institute legal 
proceedings against such defaulting officer and his 
sureties. The President shall have power to ap¬ 
propriate moneys for organizing purposes or for 













20 


PHOTO-ENGRAVING ART 


representation at labor conferences which he shall 
deem advisable. 

REPORT OF COMMITTEE ON TUBERCU¬ 
LOSIS. 

To the Officers and Delegates of the International 
Photo-Engravers’ Union of North America, in 
Convention Assembled: 

Gentlemen—The Convention of 1907 instructed 
President Woll to appoint a committee to take up 
the two propositions submitted to and endorsed by 
them as to the best and most practicable way our 
organization could help those of our members who 
were stricken with tuberculosis. 

After several months of investigation, etc., the 
committee met in Chicago, and in conjunction with 
President Woll thoroughly considered matters from 
every standpoint. A brief report of their work and 
a recommendation was then submitted to every 
member in the I. P. E. U. A large majority 
have endorsed their recommendations for adoption 
and leave it for the delegates of 1908 to start the 
good work. 

Your committee then proceeded to work in mak¬ 
ing preliminary arrangements with such sanitariums 
that would offer our members the best of care and 
treatment at reasonable prices. So far we have 
been able to make terms, etc., with the Y. M. C. 

A. Health Farm, near Denver, and the King Ed¬ 
ward Sanitarium, near Toronto, for our Canadian 
members. 

It now remains for our organization to get in 
touch with these institutions and make definite ar¬ 
rangements. 

We have prepared such rules and regulations 
for submission to you that we think should be 
adopted for the control of this new department of 
our organization. We also submit the necessary 
changes which must be made in our present Con¬ 
stitution; also a form of application which must 
be made out by every member seeking this benefit. 

It will be noted that we suggest the delegation 
of control and authority over this department to 
our President. This power must be centralized 
for prompt, effective action. There will be cases 
and situations where considerable discretionary 
power must be used, and we feel that for best 
results such power should be centralized. While 
endeavoring in the rules and regulations to safe¬ 
guard in every way the interests of all, the point 
ever before us has been to make the work of 
this relief fund a blessing and a prompt blessing to 
all our members who may need its benefits. 

Before closing: our report we wish to sav a few 
words in regard to the I. P. E. U. Health Farm. 
This idea appeals to all of us. It has our hearty 
approval and fullest consideration. But for a 
starter in this good work it was found impracti¬ 
cable. Its great cost and our lack of experience 
would close the work ere it scarcely began. But 
starting out in this manner we feel sure that as 
time shows the good work accomplished, and with 
the experience gained, we may then, as an organi¬ 
zation, see a clear way to start the larger enter¬ 
prise and extend its benefits to members afflicted 
in other ways. Fraternally yours. 

CHAS. A. STINSON, 

Philadelphia. 

A. NORDHAUSEN, 

Denver. 

HENRY J. GRAY, 

Chicago. 

To the Officers and Delegates of the International 
Photo-Engravers’ Union of North America, in 
Ninth Annual Convention Assembled. 

Gentlemen—The plan submitted by the Committee 
on Tuberculosis was carried by a fair majority. 
The main objection was the increased taxation to 
our members, so expressed by many who voted in 
favor of same. Would suggest that this Conven¬ 
tion devise some plan whereby this project can 
be carried out without an additional expense to our 
members. 

CHAS. A. STINSON. 

REPORT OF COMMITTEE ON SHOP IM¬ 
PROVEMENTS. 

Your Committee on Shop Improvements respect¬ 


fully presents the following for your considera- 
tion: 

Committee reports that statistics on shop im¬ 
provements were gone over carefully, and recom¬ 
mend that the International Secretary-Treasurer 
instruct all Local Unions to notify all chapels 
through their chairmen that questions Nos. 6, 10, 

12 and 13 be pushed for all possible improvements 
wherever possible, and that questions Nos. 18, 19* 
21, 23, 24, 25, 32, 34, 38 and 42 be given all 
possible consideration. Respectfully, 

M. McDONNELL, Chairman, 

T. H. SCHUSSLER, 

CHAS. TYGART, 

OTTO E. RUMPEL, 

Committee. 

Moved, That the report of the Committee be 
approved and that the President be authorized to 
appoint a Committee and they be empowered to act 
until next Convention, and to have each delegate 
act as representing his local in conjunction with 
this Committee. Carried. 

Proposition No. 10, by Delegate John P. 
Simonds, Tr., Boston, No. 3 - 

RESOLVED, That this Convention appropriate 
such sum of money as is necessary to give Boston 
a 100 per cent, organization; it is further 

RESOLVED, By this Convention that we place 
at once an official organizer in said city for a 
period of not less than one year. 

Proposition No. io—The Committee reported un- 
favorably, but recommended that the Executive 
Council give all possible aid to Boston. Moved to 
concur. Carried. Delegate Simonds asked to be 
recorded as voting “No.” _ . 

Proposition No. 12, by Delegate W illiam Patter¬ 
son, Toronto, No. 35. 

To the Delegates of the I. P. E. U. in Convention: 

Gentlemen—Owing to the fact that a number of 
members have at different times borrowed money 
from their respective locals and have gone . away 
leaving their notes as security and then failing to 
redeem them when due, Toronto local respectfully 
requests that this matter be taken up for discus¬ 
sion and a law framed which will protect the 
locals from whom the money is borrowed. 

Proposition No. 13, by Delegate William Patter¬ 
son, Toronto, No. 35. . 

Amend Section 50, General Laws, making the 
section read as follows: 

On the death of a member of a Subordinate 
Union the local President and Secretary shall draw 
an order' on the Treasurer of the International 

Union for the sum of one hundred dollars ($100) 
for the burial expenses of the deceased; provided 
that the deceased has been in continuous good 
standing in the International Photo-Engravers’ 
Union of North America for a period of six 

months preceding his death; this proviso not to 
apply to regularly indentured and registered ap¬ 
prentices becoming journeymen members. Such 
order, if correct, and accompanied with the dues 
book of the deceased member, containing the de¬ 
claration, properly signed, must be immediately 
honored. 

Proposition No. 18, by Delegate John P. 
Simonds, Jr., Boston, No. 3. 

Amend General Laws by adding: “No foreman 
shall discharge or cause to be discharged any 
regular for alleged incompetency of substitute.” 

Proposition No. 23, Delegates Robert C. Kroll 
and L. E. Ostrander. 

Since this International Union by referendum 
vote has undertaken the work of combating tuber¬ 
culosis in our craft, such work should be directed 
by a small but representative body of officers 
selected for that one purpose and should be kept 
wholly apart from any political or other undue in¬ 
fluence. With this object in view, we offer the 
following propositions: 

1. There shall be appointed a Tuberculosis Relief 
Committee of three and be constituted as follows: 

A. The Executive Council shall appoint one 
member each year, but no member shall be ap¬ 
pointed for more than one term of three years. 

B. The tenure of service shall be three years. 

C. Not more than one member shall be ap¬ 
pointed from any one city at the same time. 



PHOTO-ENGRAVING ART 


21 


iSeto gorfe (Engraber’g £ 

H. D. FARQUHAR, Propr. 

nipplp 

JTT Manufacturers and Dealers in everything 
pertaining to Photo Engraving and the 

Photo Mechanical Processes are now lo¬ 
cated in their new quarters at. 

103-105 MOTT STREET, 

NEAR CANAL 


4TT Where our Offices. Show Room 
Factory are under one roof. Stop in 
look us over. 

and 

and 


X 


D. The chairman of the committee shall be 
the member serving his third year. 

2. The Tuberculosis Relief Committee shall re¬ 
ceive and pass upon all applications for sick bene¬ 
fits and authenticate all vouchers drawn on the 
Tuberculosis Relief Fund. 

3. Only regular members in good standing shall 
be eligible to receive benefits from the Tubercu¬ 
losis Fund. 

4. Any member wishing to make application for 
tuberculosis benefits must first make application to 
his local Union, which application must be accom¬ 
panied by a physician’s certificate certifying that 
such member is afflicted with tuberculosis. The 
local Union shall thereupon designate a physician 
to make another examination of the applicant, and 
if the second examination shows the applicant to 
be affected with tuberculosis, the local Union, shall 
immediately forward both, with the member’s ap¬ 
plication to the Tuberculosis Relief Committee; 
provisional members shall send such application to 
the Secretary-Treasurer, who shall follow the pro¬ 
cedure prescribed for local Unions. 

Referred to Committee on Tuberculosis. 

Proposition No. 24, by Delegate W. H. Birming¬ 
ham, Rochester, No. 22. 

Move to strike out Section 5, Article VI, and 
substitute the following: . 

Article VI, Section 5, “Any member in good 
standing of any subordinate union shall be eligible 
to election to any of the following offices: Presi¬ 
dent, First Vice-President, Second Vice-President, 
Third Vice-President and Secretary-Treasurer, 
whether he has been sent as a delegate to a con¬ 
vention or not, provided there are no charges 
pending against him in his local union; and that 
any officer shall be eligible to re-election.” 

Referred to Committee on Laws. 

Proposition No. 25, by Delegates Robert C. Kroll 
and L. E. Ostrander, St. Louis, No. 10. 


Amend Article XX by adding the following sec¬ 
tions: 

Section 6. The I. P. E. U. label may be stamped 
on such cuts only as are made in their entirety 
by members of this Union. 

Sec. 7. No employer who has his photo-engrav¬ 
ing done wholly, or in part, by others than mem¬ 
bers of this Union shall be permitted to use the 
label. 

Referred to Committee on Laws. 

Proposition No. 32, by Delegate P. T. Brady, 
New York, No. 1. 

Added section to the General Laws. 

When a Local Union finds that it has more ap¬ 
prentices than its ratio calls for, it may, with the 
permission .of the Executive Council, refuse to 
register any more apprentices, until it has caught 
uo with its proper ratio, and in order that there 
shall be no discrimination against an. employer that 
has not his proper ratio of apprentices, the Union 
may take apprentices from one shop and transfer 
them to the shop that has not its proper ratio. 

Referred to Committee on Laws. 

Proposition No. 34, by Delegate Andrew J. Gal¬ 
lagher, San Francisco, No. 8, I. P. E. U." 

Amend Article 8, Section 1, by inserting the fol¬ 
lowing- after the word advisable, on the last line 
of page 10: He shall receive an annual salary of 
$1,500.00 and devote his time exclusively to the 
business of this organization, making the entire 
section read: 

Section x. The President.—The President shall 
attend and preside at all meetings of the Interna¬ 
tional Photo-Engravers’ Union during his term of 
office; he shall have the casting vote whenever 
there shall be an equal division on any question, 
except where he shall have voted on the call of 
the i’-eas and nays; he shall at all times exercise 
a general supervision over all officers of the In¬ 
ternational Photo-Engravers’ Union, requiring a 















22 


PHOTO-ENGRAVING ART 


faithful performance of duties and a strict and 
businesslike manner of keeping all accounts, paying 
out money, and conducting correspondence; he shall, 
with the Secretary-Treasurer, see that all moneys 
belonging to the International Photo-Engravers’ 
Union, exceeding the sum of $50, are properly de¬ 
posited in a responsible bank to the credit of the 
International Photo-Engravers’ Union, and money 
shall be drawn from such bank only by check 
signed by him and the Secretary-Treasurer, and 
only then when fully satisfied that such money is 
lawfully and justly due the person or persons for 
whose benefit the check is drawn; he shall appoint 
an Auditing Committee of three to examine and 
audit the accounts of the Secretary-Treasurer, quar¬ 
terly for the quarters ending January 31st, April 
30th, July 31st, October 31st, of each year, said 
committee to be composed of members of the local 
Union of which the Secretary-Treasurer is a mem¬ 
ber; he shall at the close of each year see that 
the accounts of the Treasurer with such bank are 
balanced, and a sworn statement to that effect 
shall be published, together with all receipts and 
disbursements of the International Photo-Engravers’ 
Union; he shall be chairman of the Executive 
'Council, and preside at all meetings, and shall have 
the right to vote upon all questions submitted to 
it; he shall properly discharge the duties of his 
office; he shall, with the sanction of the Executive 
Council, appoint, oversee and direct the opera¬ 
tions of Organizers; he shall have authority, should 
be become satisfied that any officer is derelict in 
the performance of any duty, or has been guilty 
of anv dishonest act, to suspend such officer from 
his official position. In such event he shall fur¬ 
nish the officer so suspended with a detailed state¬ 
ment of his reasons for so doing, and shall also 
forward to the Vice-President a similar detailed 
statement, who shall thereupon appoint a committee 
of three of the Executive Board to try such sus¬ 
pended official upon the charges presented by the 
President, and in accordance with a law to govern 
impeachment and trial; he shall, before accepting 
the official bond of any officer, be satisfied that 
such bond is valid and in proper form, and for 
that purpose he is herebv empowered and instruct¬ 
ed to take competent legal advice upon the matter; 
he shall, in case of mismanagement or misappro¬ 
priation of any funds of this Union by any of¬ 
ficial charged with the custody, collection and dis¬ 
bursement thereof, at once proceed to collect the 
same from the official in default, or, in the event 
■of the failure of such official to make good such 
deficiency, institute legal proceedings against such 
defaulting officer and his sureties. The President 
shall have power to appropriate money for organ¬ 
izing purposes or for representation at labor con¬ 
ferences which he shall deem advisable. He shall 
receive an annual salary of fifteen hundred dol¬ 
lars C$1,500) and shall devote his time exclusively 
to the business of this organization. 

Referred to Committee on Laws. 

Proposition No. 38, by Delegate Andrew J. Gal¬ 
lagher. San Francisco, No. 8. 

Add new section to Article X, to' be known 
as Section 6, to read as follows: 

Section 6. Ten per cent, of the per capita tax 
collected shall -be set aside in a fund to be known 
as the “Convention Fund,” and the railroad and 
per diem expenses of delegates shall be paid from 
said fund; this fund may be used for no other 
purpose; provided, that upon permission of twen¬ 
ty (20) local Unions after each shall have been 
requested to grant such permission it may be used 
for a specific purpose. Said purpose to be stated 
when permission is asked and the amount in the 
fund at the time of said request, to be made 
known to the local Unions. 

Referred to Committee on Laws. 

REPORT OF COMMITTEE ON OFFICIAL 
JOURNAL. 

Your Committee on Official Journal respectfully 
submit the fohowinp for your consideration: 

After carefully considering propositions Nos. 28, 
4=;, 47, and 48, relating to Official Journal, your 
Committee recommend that the Executive Council 
be instructed to proceed without unnecessary delay 
to publish such Official Journal for one year as an 


experiment, and that a copy be sent to every mem¬ 
ber. The Executive Council to report to the next 
regular convention. We also recommend the adop¬ 
tion of the following rules for the guidance of the 
Executive Council to govern the publication of the 
Official Journal during its experimental stage: 

1. That we publish an Official Journal and that 
a copy be sent to every member. 

2. That the name of the Official Journal shall be 
The American Photo-Engraver, and it shall be 
known as the Official Journal of the International 
Photo-Engravers’ Union of North America. 

3. The editor shall be appointed by the Executive 
Council and shall be under their direct supervision. 

4. Each Local Union shall elect an official cor¬ 
respondent, whose duty it shall be to report to the 
editor once a month on all matters of interest 
touching upon the welfare of the craft. 

We recommend that all the propositions submitted 
to the convention pertaining to the publication of 
an Official Journal be referred to the Executive 
Council for their consideration and that all other 
matters pertaining to the publication of the Official 
Journal, such as revenue from advertising, sub¬ 
scription, etc., be left to the Executive Council. 

Respectfully submitted, 

PETER T. BRADY, Chairman, 

H. TACOBI, 

W. H. BIRMINGHAM, 

F. H. GLENN, 

ROBERT WILSON, 

Committee. 

Moved to non-concur in the Committee’s report. 
It was amended that we take up sections separately. 
Carried. 

Moved that we add the words “for 50 cents per 
year” to Section 1. Carried. 

Moved that we concur in Section 2. Carried. 

Moved that we concur in Section 3. Carried. 

Moved that we concur in Section 4. Carried. 

Moved that the subscription (fifty cents) be made 
voluntary. It was amended that this question be 
left to local unions to determine. Amendment car¬ 
ried. 

The motion to non-concur in the report of the 
Committee was now put and lost. 

It was moved to concur in the report of the 
Committee as amended. 

Carried. 

Moved that we reconvene Saturday morning at 
9 o’clock sharp. 

Carried. 

Proposition No. 28, by Delegate P. J. Brady, New 
York, No. 1. 

OFFICIAL JOURNAL. 

Amend General Laws by adding the following: 

Section 1. The International Union shall pub¬ 
lish a monthly journal, a copy of which shall be 
sent to every member in good standing. 

Sec. 2. The name of the journal shall be The 
American Photo-Engraver, and it shall be known 
as the Official Journal of the International Photo- 
Engravers’ Union of North America. 

Sec. 3. The editor of the American Photo-En¬ 
graver shall be appointed by the Executive Coun¬ 
cil and shall be under their direct supervision. 
He shall receive a salary of three hundred dollars 
($300) a year. 

Sec. 4. Each local union shall elect an official 
correspondent, whose duty it shall be to report to 
the editor of The American Photo-Eneraver once a 
month all matters of interest touching upon the 
welfare of the craft. 

Sec. 5. There shall be published monthly in the 
Official Journal fac-simile copies of such Union 
labels as in the opinion of the Executive Council 
the members should become acquainted with. 

Sec. 6. A tax of five cents (5c.) monthly shall 
be levied on every member of the International 
Union for the support of the Official Journal. 

Referred to Committee on Official Journal 

Proposition No. 45, by Delegates H.‘ F. Jacobi 
and A. Sloan, Chicago. No. 5. 

Amend Constitution by adding new Article No 
. and to be entitled “Official Journal.” 

Section i ; There shall be published monthly by 

the Executive Council a journal of.pages or 

more to be non-political and non-sectarian and to 





PHOTO-ENGRAVING ART 


23 



flThis cut represents the Standard Interchange¬ 
able Air-Brush for the photo-engraver, fitted with 
lightning interchangeable glass jars or metal 
side cups all m one brush. Illustration 
shows the exact size of the instru¬ 
ment. It weighs only 
1 V 2 ounces. 


All the m lin 
parts are on the 


are on 

outside of the shell, 
adjustable for high or low 
pressure. With one movement of 
the index finger and with a sweep 
of the hand it will go from a hair 
line to a broad spray. Any kind 
of colors may be used. A** 


4f Construction Simplicity ” 

For further information and prices address the Patentee and Manufacturer 

O. C. WOLD 155 W chicago N ST 

In answering please mention “ The Photo-Engraving Art ” 


be known as “The Photo-Engravers’ and their Jour¬ 
nal, Official Journal of the International Photo- 
Engravers of N. A.,” which shall be so far as 
practicable the International Photo-Engravers’ 
Union’s official organ to communicate to subordi¬ 
nate Unions. 

Sec. 2 . The President, with the assistance of the 
Secretary-Treasurer, shall edit and manage the 
Official Journal, subject to recall from their duties 
by the Executive Council upon proper and sufficient 
cause or provocation. 

Sec. 3. The Official Journal shall at all times be 
under strict supervision and control of the Execu¬ 
tive Council and must at all times meet with its 
approval. 

Sec. 4. The Official Journal shall contain the 
reports of the Auditing Committees, official order; 
charters granted; charters suspended and the cause; 
shall publish a list of names and addresses of Cor¬ 
responding and Financial Secretaries of subordinate 
Unions free, and of such Unions as desire to pub¬ 
lish a list of the names of their officers shall be 
charged at the rate of $1 per line per year; state 
of trade; notices of changes in the scales of 
prices; advertisements meeting the approval of the 
Executive Council; the name of all applicants for 
membership about whom information is desired as 
to previous good character and such other matters 
as may be of interest and importance to the craft 
generally. 

Sec. 5. The subscription rate of the Journal shall 
be fifty cents per annum, postage i:i addition to 
be charged foreign subscribers, and the price for 
single copies shall be five cents, provided that one 
copy of said Journal be furnished free to the Sec¬ 
retary of each subordinate Union; and, provided 
further, that the Executive Council # may dispose 
gratis of such number of copies as is deemed by 
them best to promote the interest of our Union 
and our Journal. 


Referred to Committee on Official Journal. 

Proposition No. 47, by Delegates H. F. Jacobi 
and A. Sloan, Chicago, No. 5. 

Add General Laws: 

The International Photo-Engravers’ Union recom¬ 
mends and urges that each local Union subscribe 
for as many copies of the Journal as it has mem¬ 
bers and that such subscriptions be paid by local 
Union from its funds. 

It is recommended and urged that all subordi¬ 
nate Unions publish their card in the Journal. 
The revenue derived from this source, whiie being 
livht on finances of local Unions, will materially 
aid placing the Journal on a sound financial basis. 

Referred to Committee on Official Journal. 

Proposition No. 48, by Delegates H. F. Jacobi 
and A. Sloan, Chicago, No. 5. 

RESOLUTION. 

WHEREAS, Our International Union has now a 
membership numbering over 3,000 members and 
has assumed such proportionate strength as to 
make it imperative, or nearly so, that we own and 
control the Official Journal of our Union; 

WHEREAS, Such a feature added to our Union 
will place an effective organizing means within our 
control, and 

WHFREAS. Our Executive Council at the last 
Convention was instructed to inquire and report to 
this Convention as to the possibility of our Union 
owning and controlling our Official Journal; there¬ 
fore, oe it 

RFAOLVED, That in event of favorable report 
by the Executive Council that we instruct our 
Executive Council to proceed without unnecessary 
delay to publish such Official Journal and make 
such arrangements with the Ostranger-Seymour 
Company, publishers of the Criterion, to retain this 
journal until such time as these resolutions can 
be put into effect. 

Referred to Committee on Official Journal. 







We Need Your Subscription 


THIS FIRST NUMBER OF 

$f)oto=€ngratung &rt 

gives but a slight indication of 
the scope and intentions of the 
publishers of this magazine. 

We would like to continue to 
send it to you gratis, but the 
postal laws make it imperative 
that we get paid for our circu¬ 
lation or Uncle Sam will refuse 
us second-class entry. 

Send us a dollar to-day and 
we will begin your subscription 
with the January Number, send¬ 
ing the December Number free. 

SEND US THAT DOLLAR TO-DAY. 


Date, 190 

The Hillside Press, Publishers 

Enclosed herewith is one dollar. Please send PHOTO¬ 
ENGRAVING ART to the address below, for one year, com¬ 
mencing with the January Number, and sending me the 
December Number free. 

(Name in full) 

( Address in full ) 









THE DECEMBER NUMBER OF 

$f)oto=€ttgr airing &rt 

Will contain among others the following interestingly written 
1 ——^— articles : ■■ ■ 

Points on How to Etch and Print 
Newspaper Halftones 

Hints to Commercial Artists Doing Newspaper 
W ork— Illustrated 

Billing Photo-Engraving by Typewriter 

Photo-Engraving Prices Twenty Years Ago 
and To-Day 

How Some Advertisers are Getting Double Space 
for Half the Money— Illustrated 

The Metzograph Grain Screen— Illustrated 

More Advice 

A Few Simple Ways to Test Paper 


®fje $res& 

Richmond Hill New York 










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From specially Denatured Alcohol 

Made from the simplest formula authorized by the U. S. Government. 

It is an unfinished Collodion base, and the Photographer 
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with his usual custom. It saves you $ 1.30 on each gallon 
of alcohol used, and the Photographer practically makes 
his own Collodion, as in the past. 

OUR COMPLETE FORMULA 

Pure Alcohol, x /z gallon; Pure Ether, x /t gallon; Iodide 
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SEND FOR DESCRIPTIVE CIRCULAR AND PRICES. 


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GEO. A. ERKENBRACH CO. 

Manufacturing Chemists 

115 MAIDEN LANE 

Established 1869 New York Incorporated 1906 








pitnin-IEttgratmig Art 

The Hillside Press, Publishers, Richmond Hill, N. Y. 

Volume I DECEMBER, 1908—JANUARY, 1909 Numbers 2-3 



CONTENTS 

Frontispiece, “SAFE!” 

Courtesy of the C. P. Goerz Am. Optical Co. 26 

HOW ONE NEWSPAPER GOT RESULTS 

By Fred J. Willocic. 27 

THE WAY SOME ADVERTISERS BEAT THE RATES 

By Chester Knowles. 31 

ADVICE. 31 

BILLING PHOTO-ENGRAVING BY TYPEWRITER 

By R. G. Flagler. 33 

PHOTO-ENGRAVING PRICES TWENTY YEARS AGO 

S. H. H organ, in the Inland Printer . 35 

THE METZOGRAPH GRAIN SCREEN. 36 

EDITORIAL—OUR POSITION. 38 

RETOUCHING NEWSPAPER COARSE SCREENS. 40 

A FEW SIMPLE WAYS TO TEST PAPER... 42 

Copyright, 1908, by The Hillside Press, Publishers 


is the most essential part 
required to make a 
good negative 

We can give you both 

(Quality ani> ICmu Ijlriri's 

We will be pleased to 
have your specifications 


f 6 and J inch Plate Glass 
Crystal Plate Glass 
/ inch Negative Glass 

— Established 1889 = 

L. SOLOMON 

Importer and Dealer 

215 Bowery New York 


J E L. L. I T A O 

CERKEN BUILDING 
90 WEST BROADWAY NEW YORK 



Cut this advertisement out and enclose it with 
name for large FREE SAMPLE 




















































Jluhlialiph iflUnttljhj in tlip Jnter^Bta of iEakrra anh Harra nf JilTotn-lEngramng 


VOL. I., NOS. 2—3 


DECEMBER, 1908—JANUARY, 1909 


HOW ONE NEWSPAPER GOT RESULTS 


A Short Story Which Contains a Few Logical Hints Which May or May Not Be Valuable 

By FRED J. WILLOCK 

With Drawing by the Author 


Y ES, that’s all very well to say that 
you will improve the quality of 
our halftones so that no other paper 
will look as good. Why haven’t you 
done it before? You have been mak¬ 
ing our cuts for six or seven years, 
and if anything they appear worse each 
day.” 

The publisher of a large metropolitan 
daily thumped his desk emphatically as 
he delivered himself of the above before 
a meeting of the Business Manager, 
Managing Editor, Sunday Editor of his 
paper and the President and manager 
of a large engraving house. 

“In my opinion the cuts are not 
etched deeply enough,” broke in the 
Managing Editor. 

“My complaint is that the quality is 
not uniform, some are good and some 
are bad. The ones we wish to have 
appear best almost always disappoint 
us,” the Sunday Editor explained. 

“And every little extra is charged 
for,” complained the Business Manager. 
“The bills have been mounting steadily. 
for the past four or five years. Where 
we used to spend from $100.00 to 
$150.00 per week, it now costs us 
nearly $500.00. This is all out of pro¬ 


portion to the results obtained. I have 
been going over some back numbers of 
our paper and note with considerable 
surprise that the quality of the cuts four 
or five years ago, printed on our old 
presses, was superior in every way to 
those we print to-day, and now we have 
the latest web perfecting presses.” 

“In my opinion,” said the Managing 
Editor, “we ought to establish our own 
plant. Then, and then only, could we 
be sure of a uniform quality of cuts and 
proper depth for our purposes. Depth 
is what all our halftone cuts lack. We 
never have any difficulty with our type 
or line work. They always print clear 
and sharp. This proves conclusively 
that the halftones are either slighted 
or improperly etched. 

The President of the EngravingCom- 
pany sat quiet and attentive while his 
product was being mercilessly ham¬ 
mered. He wore a winning smile as 
he declared positively: 

“Gentlemen, our cuts are all right. 
The real trouble is that you do not 
know how to print coarse screen half¬ 
tones from stereotypes! We make 
better cuts to-day than we ever did. 
One hundred per cent, better. We 













28 


PHOTO-ENGRAVING ART 


have a more perfect organization, 
higher salaried craftsmen, experts, 
every one in his own department. Lat¬ 
est improved machinery, and behind it 
all runs a loyalty toward your paper, 
a real loyalty, from the office manager 
down to- the errand boys. We appre¬ 
ciate your patronage and friendship to¬ 
ward us. We have tried to give you 
perfect service. We know you are sat¬ 
isfied with it. We have given you good 
cuts,—better cuts than any of your con¬ 
temporaries are getting from their own 
plants—and the harder we try and the 
better the quality the more unsatisfac¬ 
tory the results. 

“I must confess that it is more dis¬ 
couraging to us than it is to you. We 
want to satisfy you. When we first se¬ 
cured your contract six years ago ours 
was probably the smallest and most in¬ 
complete plant in the city—to-day it is 
unquestionably the largest. No other 
plant in the country or in the world 
operates three shifts of men every day 
in the year, including Sundays and 
holidays. 

“These additional shifts were in¬ 
stalled primarily to improve our service 
to you. Every man in our employ is 
with us because he has ‘made good’ 
elsewhere at his particular branch of 
the trade. We employ no incompetents. 
Every man is employed because he ‘de¬ 
livers the goods.’ They are all com¬ 
paratively young men, and every one 
is a ‘live wire.’ 

“The percentage of errors in follow¬ 
ing instructions is nominal compared 
with what you would have to contend 
with if you try to install your own 
plant. It will take you years to attain 
the state of perfect organization which 
we have reached. 


“Now I will get back to my conten¬ 
tion that your present force does not 
know or want to learn how to print 
halftone cuts well. I am willing to 
stake my reputation and the whole 
amount of your next month’s account 
against a plugged nickel that inside of 
two weeks I can improve the appear¬ 
ance of your paper at least fifty per 
cent. To do this, however, it will be 
necessary for all four of you gentlemen 
to give me his whole support. There 
may be a few heads fall or there may 
be some new machinery to be installed, 
and if I find it necessary I am going 
to order it and send the bill to the pub¬ 
lisher. If after I say I am through 
you are not satisfied I will stand 
for any expense I have incurred and 
replace everything as I found it. If 
results have been obtained you pay the 
bills and I get the plugged nickle and 
your commendations. Are you willing 
to give me a trial, gentlemen?” 

“Your proposition sounds fair, and 
as we apparently have nothing to lose 
and everything to gain, if you do as 
you say, I am tempted to permit you 
to try to see what you can accomplish,” 
said the Publisher. 

“I must be permitted to have my 
way in everything for two weeks,” said 
the engraver, “and have the undivided 
support of every department, and I re¬ 
quest the Business Manager to notify 
the heads of the mechanical departments 
to that effect.” 

“Yes, but the financial part is what 
interests me. How do you account for 
the steady increase in your bills ?” asked 
the Business Manager. 

“Mr. Brandt, we won’t discuss our 
bills to-day or attempt to explain till 
my two weeks grace have expired. In 
the meantime I will have the account- 


PHOTO-ENGRAVING ART 


29 


ing department go over the matter care¬ 
fully and give you a detailed report. 

* * * * * * * 

Two weeks later the same group of 
men were assembled in the Publisher’s 
office. The President of the Engraving 
Company asked: 

“Well, gentlemen, what’s the ver¬ 
dict ?” 

“Fine!” cried all four in a breath. 


Editor: we did not give any more than 
the usual amount of attention to your 
cuts—that is, not at our plant. And to 
answer the Publisher: I will begin from 
the time I left you two weeks ago,” 
said the President of the Engraving 
Company. 

“When I went away I had only a 
very vague idea as to just how I was 
going to proceed to make good my 



“Weil, gentlemen, what’s the verdict?” 


“It’s easy to see that you etched the 
cuts deeper,” said the Managing Editor. 

“And that you gave more attention 
to the quality. The effect of careful 
etching is quite noticeable. The cuts 
have all shown up well, and one is as 
good as the other,” chimed in the Sun¬ 
day Editor. 

“You certainly have made good. 
Just how did you go about it?” asked 
the Publisher. 

“To answer the Managing Editor 
first, I wish to say that we did not etch 
the cuts deeper. To answer the Sunday 


boast. However, I had unbounded con¬ 
fidence in the high-grade quality of our 
cuts and was positive that the trouble 
was not in the cuts, but in your print¬ 
ing of them. 

“I returned to the office and threshed 
the matter out thoroughly with the 
heads of each department and received 
their assurances that nothing further 
could be done to improve the quality. 
That deeper etching would materially 
injure the plates and, furthermore, that 

(Continued on page 43.) 



Sherlock Holmes is 
Coming Back 

T WO more “reminiscences” by Dr. Watson of the 
Great Detective are to /see the light. The first 
one is entitled “The Singular Experience of Mr. J. Scott 
Eccles.” It will appear in COLLIER’S for August 15th, 
which will be a “Sherlock Holmes” Number. There 
will be an intimate sketch of Sir Arthur Conan Doyle, 
creator of Sherlock Holmes, of his old teacher, Professor 
Bell of Edinburgh, who was the original of the Great 
Detective, and many anecdotes and illustrations of the 
unique place in literature and on the stage achieved by 
“the greatest character in fiction since Monsieur Dupin." 

Here is what Collier’s Fiction Editor wrote: 

“ I think I can safely say that it is one of the most remarkable 
detective stories of modern times. Not only is the plot novel, 
but the author brings to this tale all of the atmosphere of mystery 
and the extraordinary character drawing which long ago made him 
famous. I consider the story a great asset for any periodical. It 
is one of those cases where an author wins success along a certain 
line, creates a band of imitators, drops out for a time, and then 
comes back as if to show just how good he really was.” 

Collier’s 

The National Weekly 

Sherlock Holmes Number—August 15th 

Courtesy of ‘‘Collier’s Weekly.” 



PHOTO-ENGRAVING ART 


3i 


THE WAY SOME ADVERTISERS BEAT THE RATES 


Hard Times Sharpen the Wits of the “Money-Spenders” 
By CHESTER KNOWLES 


T HAT “necessity is the mother of 
invention” is amplified by the 
way in which hard times, coupled with 
steadily advancing rates, developed for 
the advertiser a method by which it is 
possible to get twice the amount of ac¬ 
tual space, in addition to a two-color 
effect, at the regular advertising rates. 

It was a publication which first point¬ 
ed a way to accomplish this apparently 
impossible feat. Collier’s advertisement 
which announced the return of Sher¬ 
lock Holmes, reproduced on the oppo¬ 
site page, was used during August in 
the popular magazines, and shows how 
R. T. Snodgrass, of the advertising de¬ 
partment of Collier’s, evolved the 
method of showing the great character 
in a subtle, behind-the-scenes manner 
which perhaps makes it particularly ap¬ 
propriate and effective. 

We also present an advertisement 
which was arranged by Frank Presbrey 
Co.—for Wilcox & White Co.—present¬ 
ing as it does a large figure of the An- 
gelus Piano Player, which occupies 
nearly the whole amount of available 
space in the advertisement and the let¬ 
terpress which apparently is printed 
over it. 

Of course the method used to pro¬ 
duce this effect is obvious to the prac¬ 
tical engraver, but to the lay mind and 
also to many advertising men and 
printers it is more or less of a mystery, 
and it is the intention of Photo-En¬ 
graving Art from time to time to 
initiate all those who care to learn into 
the mysteries of the possibilities of the 
beautiful and practical results to be ob¬ 


tained by mixing a little brains with 
chemicals, acids and metal. 

To produce this effect two line nega¬ 
tives are made—one of the type mat¬ 
ter, and one of the figure. The figure 
is drawn solid black, as if for straight 
line reproduction. A half-tone nega¬ 
tive is made by exposing to a pure 
white sheet. This negative is stripped 
and placed on the glass over the 
straight line negative of the figure. 
The copper plate is sensitized as usual 
for an ordinary print, and the double 
negative given the usual exposure. 
The negative of the type matter is then 
printed on the same sensitized plate. 
Care must be taken to have the nega¬ 
tive squared up and also to have the 
plates marked in such a way that the 
type matter will be sure to be printed 
at right angles to the upright figure. 


ADVICE 

Build up! 

Never pull down your house about 
you. 

jt & 

It is easy enough to find fault. It is 
the man who can remedy the trouble, 
and does, who makes good. 

.jt jt 

The man who hasn’t the courage of 
his own convictions must always tag 
along behind. Dig up an idea, de- 
velope it, get in front and lead the way. 

& 

People who do only what they are 
told to do are never told to do anything 
they have not shown they are capable 
of doing. Actions, not words, count. 




32 


PHOTO-ENGRAVING ART 


It will soon be time 
to purchase or ex¬ 
change your pres¬ 
ent piano for a 
pla yer-piano. 
When that time 
comes there are 
three things it will 
pay you to 
remember 


Inhere is just as big a difference in player-pianos as 
there is in pianos. 

yhe chief difference in player-pianos—the difference that 
really counts—is in the facilities with which the instru¬ 
ment provides you for rendering music properly. 

J^here is only one instrument, one player-piano onlv, 
whose expression devices cover every requirement 
necessary to the correct production of every class of music, 
and whose equipment of expression devices enables you 
to produce music of the highest and most artistic kind 

|g| | 

ent is the 



y 



f 






—a. 


/ 



THE MELODANT 

the wonderful new device which 
brings out the complete melody clearly 
and distinctly, subordinating the 
accompaniment and emphasizing the 
melody notes. 

THE PHRASING LEVER 

enabling you to retard ot accelerate 
at will—to pause on any particular 


PIANO 

|t is an obvious and indisputable fact that the expression 
devices of the ANGELUS player-piano are more com¬ 
plete and more practical than those of any other instrument. 
If you make your purchase before satisfying yourself of 
the truth of this, you 11 be making a very serious mistake. 


at will—to pause on any particular 

phrase or rest on any note By this T T n less youare provided with expression devices w 

means the most delightful tempo 

effects may be secured. allow for the proper degree of musical expression, 


DIAPHRAGM PNEUMA TICS 

increase or decrease the blow of the 
fingers This gradation of volume 
is accomplished either gradually 
instantly, which gives the effect of 
the human touch to your playing. 

THE MELODY BUTTOI 

provide a means for accenting prop¬ 
erly in either base or treble. 

The little ANGELUS, in the 
form of a small portable cab¬ 
inet, plays any make or style 
of piano. The ANGELUS is 
also incorporated in the world- 
famous Knabe Piano and in 
the Emerson Piano, making 
the KNABE-ANGELUS and 
the EMERSON-ANGELUS 


which 
you 

ill not be satisfied for any length of time with either 
instrument or the music it enables you to produce. 

you are ready to purchase, remember that it is 
plv a case of satisfaction or the disappointing re¬ 
verse. It will pay you, therefore, to make a thorough in¬ 
vestigation of the ANGELUS player-piano before deciding 
finally on any other. 

Write for name of convenient representative 

THE WILCOX & WHITE CO. 

MERIDEN, Conn. Regent House, Regent St., LONDON 


Courtesy of 
Frank Presbrey Co., 
New York. 





























PHOTO-ENGRAVING ART 


33 


BILLING PHOTO-ENGRAVING BY TYPEWRITER 


A Modern Method of Making Out Invoices and Entering in Salesbook at One Operation 

By R. E. FLAGLER 


HP HE wonderful success and development 
A of American industries can be at¬ 
tributed to the fact that our institutions are 
not content to carry on their operations 



The Billing Machine. 

ShovAng how page from loose leaf sales book is 
inserted in the machine. The bill can be removed 
without disturbing the page. 

along the old lines of years past, when a 
better way is apparent. 

Typewriters and billing machines have 
come to stay—commercial exigencies de¬ 
mand them—it is not at all perplexing to 
comprehend why they occupy the place they 
do in the business world. They are time 
saving, hence a necessity. 

Business men to-day do not tolerate dead 
wood, either in the form of employees or 
office equipment. They know from experi¬ 
ence that an unsystematic arrangement will 
produce chaotic results. Each employee, as 
part of the office machine, must do his share 
and do it well. Competition is keen—it’s a 
“survival of the fittest,” and the fittest can 
mean nothing more or less than system. 
It is the concentrated result of the necessary 
only. 

Business would be paralyzed if typewrit¬ 


ers and billing machines were taken away. 
J hey are used in all departments of rail¬ 
road offices, libraries, retail and whole¬ 
sale stores. They are used for writing 
checks, registering hotel charges and ren¬ 
dering bills, and in fact all forms of corre¬ 
spondence where pen and parchment was 
formerly used, and where bound books for 
recording bookkeeping entries were thought 
to be indispensible. The old antiquated 
method of the past, with its red tape, has 
not been able to meet the demand of to¬ 
day, and that is why billing typewriters and 
loose leaf books have been so universally 
adopted. 

For instance, let us cite the case of an 
order received, either by mail, telephone, 
telegram, or through the salesman. 

According to the old routine, this order 
is recorded at least once in the office; then 
the various departments interested must 
take their entries, the order traveling 
around until it reaches the shipping depart¬ 
ment. The shipping department has no 
knowledge of what is coming through, or 
what is expected of it, until goods for ship¬ 
ment come flooding in from all sides. 

Now compare with the system we advo¬ 
cate: 

Printed order forms * are filled in by 

* This complete system was described in Photo- 
Engraving Art last month. 











34 


PHOTO-ENGRAVING ART 


using an autographic register machine, cop¬ 
ies for the various departments interested 
being made at one operation. Each is a cor¬ 
rect copy of the original, each bears a cor- 



Scrawlly appearance of ordinary sales book. 


responding number with the copy for office 
use. They furnish a complete record for 
goods delivered from each department for 
shipment These records are filed system¬ 
atically and can be referred to instantly. 
All departments know what is expected of 
them and prepare accordingly. The ship¬ 
ping department receive their copy of the 
order when same was made out, and have 
a check on the work so as to be in a posi¬ 
tion to answer queries when they arise. 

Time, your most valu¬ 
able asset, is saved; ship¬ 
ments are expedited; an 
automatic check on the 
different departments is se¬ 
cured ; a systematic record 
is established in each de¬ 
partment. 

Now, as to billing the 
order. 

Formerly this operation 
consisted of transcribing 
the entry in a bound book 
with pen and ink, the bill 
being copied therefrom—a 
laborious task when many 
bills are daily rendered. 

Excess copying of the 
same detail is time wasted, 
and transpositions are apt 
to creep into the work. 

The approved form of 


billing now-a-days has trimmed down these 
needless operations—there is little chance 
for error, and the weak points of the old 
methods are the strongest of the system of 
to-day. 

The sales sheet and invoice are made at 
one operation on the typewriter; one is an 
exact copy of the other. The records are 
more legible; in fact, a typewritten sales 
book is usually the best record in the office. 
Bills rendered customers are typewritten, a 
courtesy which is appreciated. More than 
one employee can have access to the loose 
leaf sales book, as the billing clerk is only- 
using one page at a time. 

Since the advent of their first billing ma¬ 
chine four years ago, the Underwood Pio¬ 
neer Visible Typewriter Co. now have a list 
of twenty-five machines for handling all 
kinds of detailed office work. Their ma¬ 
chines and business systems cover such a 
wide scope that “Bookkeeping on the Un¬ 
derwood” is a popular phrase in modern 
offices to-day. 

* * * 

“YOU CANT TURN IT DOWN!” 

Van Norden’s “The World Mirror” for 
January presents a bold but expensive idea 
to Publishers. It has the cover printed on 
the front and back, so that, no matter how it 
lies, “Van Norden’s” is always in sight. 



Neat, legible appearance of modern sales book. 
















































PHOTOENGRAVING ART 


35 


PHOTO-ENGRAVING PRICES TWENTY YEARS AGO 


With Some Comparative Prices of To-Day 


J UST twenty years ago, this month,” 
writes S. H. Horgan in Inland 
Printer, “l called on over a dozen firms 
in New York and Philadelphia for esti¬ 
mates on engraving for use by a syndi¬ 
cate. The copy was to be supplied 
weekly, and the estimate was for plates 
of 275 square inches or less. The fol¬ 
lowing six firms bid for the work: One 
—Electro-Light Engraving Company. 
Two—Galvantotype Engraving Com¬ 
pany. Three—The Photo-Engraving 
Company. Four — Moss Engraving 
Company of New York. Five—Gross- 
cup & West. Six—The Levytype Com¬ 
pany of Philadelphia. The square-inch 
prices for half-tone on that regular 
business from the firms in the above 
order was 16 cents, 14, 15, 16, 18 and 
11. The prices for minimum half-tones 
were given in the same order: $4.50, 

$4, $4, $5, $7 and $3. Line reproduc¬ 
tion was: 10 cents, 10, 10 to 12, 12 to 
15, 10 to 15 and 8 to 12; the minimum 
prices being $1, 75 cents, $1, 75 cents, 
$1.50 and 75 cents. The time required 
for half-tone making was as follows: 
Three to five days, three to four days, 
four to six days, two to six days, six 
days and one day. Line engraving re¬ 
quired two days, two days, two to three 
days, two days, two days and one day. 
Grosscup & West, it will be noticed, 
charged 18 cents a square inch with a 
minimum of $7 and required six days 
to do the work, while the Levytype 
Company charged 11 cents a square 
inch, $3 for a minimum cut, and re¬ 
quired but one day to engrave it.” 

Editor’s Note.—Being a little curious as 
to how present-day prices would compare 
with those of 20 years ago, we wrote the 


following letter to the Electro-Light En¬ 
graving Co., Galvanotype Engraving Co., 
the Moss Engraving Co., and in place of 
the Photo-Engraving Co. we wrote to the 
Union Engraving Co. Their answers speak 
for themselves and we make no comment. 


New York, Nov. 16th, 1908. 

Gentlemen:—We have in process of for¬ 
mation a weekly syndicate service and would 
appreciate your sending us by return mail 
your rates per square inch on newspaper 
line work, 65 screen half-tone, and combina¬ 
tions of line and coarse screen half-tone, also 
the minimum cn each. We will supply the 
copies about a week in advance, but would 
like to know just how fast you could turn 
out a halftone or line cut if we should be 
pressed for time. 

An early answer regarding prices and de¬ 
livery will be much appreciated. 

We will give you satisfactory financial ref¬ 
erences if we place our business with you. 

THE HILLSIDE PRESS. 


New York, Nov. 19th, 1908. 
Photo-Engraving Art, Richmond Hill, N. Y. 

Gentlemen:—Replying to your favor of 
the 16th inst. our prices for making line 
work would be at the rate of 6c. per square 
inch, with a minimum of no cut to cost less 
than 75c. 

Half-tones, square finished, 65 screen, 15c. 
per square inch, with a minimum of $2.00. 

Combination line and coarse screen half¬ 
tones, 25c. per square inch, with a minimum 

of $3.50. 

And we can ship single orders to you the 
same day if necessary, or the following day 
if time permits. 

Trusting that these quotations will be sat¬ 
isfactory, and hoping to be favored with 
your orders, promising best attention, we 
remain, 

(Signed) ELECTRO LIGHT EN¬ 
GRAVING CO. 


New York, Nov. 19th, 1908. 
The Hillside Press, Richmond Hill, N. Y. 

Gentlemen:—Yours of the 16th at hand. 
Our prices for line work is 5c. per square 
inch. For 65 screen half-tones we will 
charge you 6c. per square inch, with a min¬ 
imum of $1.00. Combination areas of each 
class of work is charged at its square inch 
price, or mininrmi cost; that is, if you had 
a line cut 6 in. x 5 in. and wanted a combina¬ 
tion made of it by inserting one small half¬ 
tone, we would charge this line plate at its 
inch measurement and the half-tone at its 






36 


PHOTO-ENGRAVING ART 


minimum price, just the same as though 
they were made separately. 

I hope these prices will meet with your 
approval and that you will favor us with the 
work you have to do. 

(Signed) GALVANOTYPE EN¬ 
GRAVING CO. 


New York, Nov. 19th, 1908. 

Hillside Press, Richmond Hill. N. Y. 

Gentlemen: — Your communication of 
Oct. 16th to hand and contents noted. We 
shall be pleased to furnish you with line re¬ 
productions for 6c. per square inch, no piece 
less than 60c.; half-tone square edge style, 
12c. per square inch, no piece less than $1.50; 
Cut out half-tone, 14c. per square inch, no 
piece less than $1.75; vignette half-tone, 18c. 
per square inch, no piece less than $2.50. 

We operate a day and night force and 
could deliver plates in eight hours or less if 
necessary. 

Under separate cover we are sending you 
a catalogue showing the various screens 
printed on various grades of prpers. 

(Signed) THE MOSS PHOTO-EN¬ 
GRAVING CO'. 


New York, Nov. 19th, 1908. 
Photo-Engraving Art, Richmond Hill, N. Y. 

Gents:—Yours of the 16th inst. received. 
We wish to state in response that we do not 
care to have our lowest rates written. If 


you could send your manager over here we 
could talk it over with him. 

Regarding the delivery we give prompt 
attention. 

(Signed) HAMMALIAN BROS. 


HALFTONES AT FIFTY CENTS EACH 

A circular from an engraving house reads 
as follows: “How does 50 cents strike you 
for a one-column cut? This is the lowest 
offer we have ever made to a publisher— 
and it is only for cash, we prepay all de¬ 
livery charges. In the last two years this 
house has lost considerable of its newspaper 
business and upon investigation we find that 
other firms have cut our original seventy- 
five-cent price. We believe we can come out 
all right at fifty cents if we get a sufficient 
volume of business, if not this price will be 
discontinued and other branches pushed.” 

Some specimens of the work of this house 
have been sent to us, and they are, of course, 
about as poor as they can be. However, no 
engraving house could turn out work, poor 
or good, for that price, and make a profit 
worth looking at. It is not necessary for 
one thing, for people whose trade is worth 
having are willing to pay a fair price 
for what they get; and it is demoralizing to 
the trade as a whole for another thing. Too 
many firms are not inclined to take the sec¬ 
ond point into consideration, but it is a 
vital one nevertheless .—American Printer. 


THE METZOGRAPH GRAIN SCREEN 


'T'HESE screens will be found to differ 
essentially both in appearance and 
particular qualities from all ruled screens 
hitherto employed for obtaining halftone 
cuts. 

The chief points of novelty which they 
present are— 

Their transparency; hence, in shortness of 
required exposure, differing largely from all 
others. 

The grain exhibits an evenness and con¬ 
tour impossible of attainment by any pro¬ 
cess other than is followed for its produc¬ 
tion, the same consisting essentially in the 
sublimation of Pyrobetulin, which, being de¬ 
posited upon the glass in a reticulated film 
of any desired fineness, is afterwards treated 
with Hydrofluoric Acid, whereby a like 
character of reticulation is imparted to the 
glass itself. 

The etched'—prismatic—reticulations thus 
obtained are found on exposure to impart, 
in the exact ratio of the light received, a 


similar reticulated grain to the sensitized 
plate. 

It is seen, therefore, that, as by reason of 
the greatly shortened exposure peculiar to 
these screens there is obtained, with perfect 
integrity of tone, also a characteristic collo¬ 
type grain, unattainable by any other pro¬ 
cess. 

The procedure for the production of the 
negative is similar to that followed with the 
lined screen, but the plate should have an 
exposure not exceeding one-sixth of the 
time necessary with a lined screen, and the 
Metzograph Screen should be placed much 
closer to the sensitive plate than in the case 
of the ruled screen. A small stop, as f/45, 
should be used before and throughout ex¬ 
posure. 

We show herewith a cut made with a 
grain screen. The negative was made with 
an Apochromat Tessar. and the cut was 
loaned us by Bausch & Lomb Optical Co., 
Rochester, N. Y. 






PHOTO-ENGRAVING ART 


37 



F. H. L. Cotton, Eau Claire, Wis. 

METZOGRAPH SCREEN 

Made with a No. i Aprochromat Tessar-Process Lens. 

Courtesy of 

Bausch & Lomb Optical Co., 

Rochester, N. Y. 




38 


PHOTOENGRAVING ART 



iPubltHljri 1 MmttljU? in tl)r dhtterrata of iJtakrra anb llarra 
of Jll}ota-iEngrauuu} 

FRED J. WILLOCK.EDITOR. 

THE HILLSIDE PRESS 

Publishers, 

Richmond Hill, New York. 


To insure the return of unavailable manuscript re¬ 
turn postage should be enclosed. 

Subscriptions—United States and Canada, $1.00 per 
year, single copies io cents. Foreign countries, 
$1.50 per year, single copies 15 cents. 

DECEMBER AND JANUARY. 


We wish our readers, subscribers and 
advertisers a Merry Christmas and a 
Happy New Year. 

^ 

OUR POSITION 

ENGRAVERS! 

Employers and employees! Photo- 
Engraving Art is your magazine. It 
is a magazine whose columns will be 
open to you at all times for the exploi¬ 
tation of samples of any exquisite re¬ 
sults you may obtain; a place to air 
your ideas on prices or any other vital 
matter, to discuss pro and con such mat¬ 
ters as can be discussed publicly be¬ 
tween employers and employees. 

We intend to develop Photo-En¬ 
graving Art so that it will be the rec¬ 
ognized encyclopedia to which all users 
of engravings will turn when in search 
of information. 

It will become this authority quickly 
if given your support. 

Without the immediate support of 


every photo-engraving house in the 
country it will be hard work and an 
uphill fight—not that we are afraid of 
work, nor do we doubt our ultimate 
success. 

You are all business rivals; wanting 
what you haven’t got, and getting what 
you do not want. You may each want all 
the business the other fellow has, but 
your actual interests are identical. You 
want business—but first of all need fair 
prices in exchange for honest work. 
This means the education of the user 
who does not, as a rule, appreciate the 
amount of effort necessary to produce 
cuts. Photo-Engraving Art is out 
for higher prices for engravers. 

If photo-engravers everywhere will 
give us the support we ask they will 
never have cause to complain of the re¬ 
sults which we will accomplish. 

Can you question the value to your¬ 
selves of a magazine of this character 
in which will be discussed the actual 
cost of the production of a properly 
made cut; in which will be explained the 
numerous processes necessary to pro¬ 
duce a cut? The reason for and the 
equity of the minimum charge, etc.? Of 
necessity the printer who wants to 
know a good cut when he sees it; how 
to print it when he gets it, and what it 
ought to cost, will be an interested 
reader. 

We expect we will err often, and 
when we do we want you to set us right. 

The postal laws make it necessary for 
us to have a certain number of actual 
subscribers before the authorities will 
allow us second-class mail privileges. 
We must have second-class entry to be 
able to accomplish anything. 

Your dollar and subscription will 
help us to get it, and you will benefit 
by it. SEND IT TO-DAY. 














PHOTO-ENGRAVING ART 


39 


NOTES 

We printed as a fact and without investiga¬ 
tion a rumor which we received from what 
we considered an authentic source. If in do¬ 
ing so we have caused Messrs. Zeese-Wilkin- 
son any inconvenience or annoyance, we 
hasten to apologize. 

* * * 

Owing to advertising copy arriving late 
we find it necessary to omit from this issue 
our symposium on “The Deterioration of 
Line Work.” We will resume it next month 
with some fine samples of high-grade line 
work and many letters from interested par¬ 
ties. Incidentally we are offering $10.00 for 
the best letter for or against our contention 
that line work to-day does not compare with 
that of a decade or more ago. 

^ >K 

A “Two-Minute Story of a Twenty-Minute 
Cut” came to us the other day from the Pow¬ 
ers’ Photo-Engraving Co., Tribune Building, 
New York City. Besides the short story, it 
contained four very strong testimonials from 
such representative people as The George 
Etheridge Co., “Van Norden’s Magazine,” 
The Democratic State Committee of New 
Jersey, and Theo. H. Price, the Cotton King. 
“What the Powers Plan Provides” should 
appeal to all users of printing plates. On 
another page we show a 65-screen cut which 
was made by Powers for the “New York 
Commercial” in fifteen minutes. 


PREMIUM FOR SUBSCRIBERS 

Through an arrangement with Mr. Mor¬ 
ton R. Edwin, whose advertisement appears 
on another page, we are in a position to 
offer to any smoker who wants to enjoy one 
hundred good smokes, one box of Key West 
Havana Seconds, if he will send us six 
subscriptions to Photo-Engraving Art for 
one year, at one dollar each. We do not 
feel that Photo-Engraving Art needs a 
premium to make it of value to any one in¬ 
terested in the process, but we realize that 
our friends should be repaid for any effort 
which they may exert in our behalf, and we 
can think of no more appropriate gift for 
a man than a box of these “friend-making” 
cigars that Mr. Edwin advertises and has 
so much faith in. 

* * * 

Any enterprising artist can get one of 
O. C. Wold’s fine air brushes by doing a 
little work for us. Write us for particulars. 


ENGRAVING PLANT FOR SALE 

FOR SALE—Complete engraving plant; 
will sell all or parts; almost new. Fred S. 
Mayer, Courier Journal Bldg., Louisville, Ky. 


WE WANT A 

LIVE 

WIDE-AWAKE ADVERTISING 

MAN 

TO REPRESENT US IN 

CHICAGO 
SAN FRANCISCO 
BOSTON 
PHILADELPHIA 

AND ANYWHERE ELSE 

^f In fact, if you consider yourself a 
bright energetic fellow, old or young, 
and you can give us all or part of your 
time, you may interest us, and we may 
put you in the way of making a little 
extra money or even a steady income. 
If Tell us about yourself and we will 
go into details. 

The Hillside Press 

PUBLISHERS 
RICHMOND HILL, N. Y. 


Under this heading: we will print each month a 
number of artist’s cards. Rates on application. 



















40 


PHOTO-ENGRAVING ART 



Copyright, 1905. 


“ON THE BEACH AT ARVERNE” 

One of the many 15-minute 65 screen newspaper cuts made by Powers Photo Engrav¬ 
ing Co., 154 Nassau St., New York. 


RETOUCHING FOR NEWSPAPER COARSE SCREEN 

HALFTONES 

A Tip or Two For the Beginner 


1^’EATNESS and despatch. These are 

' the necessary requisites for a suc¬ 
cessful newspaper artist. Speed is usually 
of paramount importance, neatness is sec¬ 
ondary, but nevertheless essential, inasmuch 
as it is often a matter of minutes, often sec¬ 
onds, to catch an edition, and there is 
usually no time to spare to “dress up” 
drawings. 

The first thing a would-be newspaper art¬ 
ist runs up against when he endeavors to 
enter the newspaper field is “rush!” “hurry!” 
“slight it but get it out!” etc., etc. 

When one scans the dailies he is prone to 
criticise too harshly the drawings and de¬ 
signs he finds there. He does not realize 
the pressure under which the drawings are 
produced. It has often been said that like 
musicians and poets, “newspaper artists are 
born, not made.” 

The first stumbling block which confronts 
the commercial artist who has been in the 
habit of retouching photos for reproduction 
for fine screens is the fact that a newspaper 


or coarse screen cut has so very few tints 
or planes. If more than four tints are used 
an artist is losing time and wasting energy. 
As it will be found that all planes will blend 
into one or the other of these four tints, 
and of necessity must to give satisfactory 
printing results. Bold brush work is neces¬ 
sary for coarse screen retouching, and an 
effort should be made to get as much sim¬ 
ple contrast into the copy as is possible, 
working for broad, simple effects—contrast 
is necessary because the dots in the coarse 
screen are so far apart and the tints are so 
cut up that what would be excellent re¬ 
touching for fine screen work would be very 
poor for newspaper work. The proofs on 
coated paper might show all the gradations 
of the original copy, but after the cut has 
been stereotyped and printed on a web 
press at the rate of 40,000 or more per hour, 
it would be seen that the four and some¬ 
times only three planes are in evidence; in 
fact, when the paper and ink are poor and 
the printing particularly bad, only the grey 










PHOTO-ENGRAVING ART 


4i 


of the highlights and solid blacks are 
left. 

Of vital importance is the necessity of the 
artist being in close touch with the pho¬ 
tographer who is to make the negative from 
the retouched copy. Often an inexperienced 
retoucher will think that to get contrast all 
that is necessary is to throw on a lot of 
solid white alongside of solid black. Noth¬ 
ing could be more erroneous. Take, for in¬ 
stance, a portrait which is dark and has a 
dark background; to put a pure white back¬ 
ground in would make it almost impossible 
for the operator to get a satisfactory nega¬ 
tive, as the white background would flash 
up and he would not be able to expose for 
the middle tones. Before putting in a back¬ 
ground the artist should first study out the 
“key” of the original and, say, if it is a very 
dark solio, he should mix enough brown or 
sepia with his white to kill off the glary 
color. If the original is a velox a little 
touch of lamp black or ivory black will gray 
down the white. 

Most of the large newspaper art depart¬ 
ments have a velox enlarging department, 
and throw up the poorer copies to four and 
five times the original size and retouch with 
large brushes in a bold way. When reduced 
the retouched enlargements give a very soft 
effect and satisfactory printing results for 
sixty-five screen cuts. 

Unlike fine screen work—the negatives of 
which are usually made flat to be staged 
out, re-etched and burnished—the negatives 
for coarse screen work on zinc are made as 
full of snap as it is possible to make them, 
it being impossible to improve them in any 
way after they have been etched, and usual¬ 
ly, time being a very potent factor, there is 
very little opportunity to do so. 

Very often it is necessary for the artist 
to retouch a copy two or more times to get 
the very best results, because under varying 
climatic conditions the action of the chemi¬ 
cals have a peculiar effect; and then, too, 
what appears to give excellent results 
under certain conditions, under slightly 
changed ones will result in utter failure. 
Very often in mixing one manufacturer’s 
make of color with that of another the re¬ 
sults, while apparently not visible to the 
naked eye, will be bad, when the photographer 
attempts to produce a negative. 


BLOWING OUR OWN HORN 


What Some Subscribers Say of Us 

That Photo-Engraving Art is going to 
be a success is evidenced by the way sub¬ 
scriptions began to arrive the day after it 
was mailed out. Every day has brought 
additional subscriptions, and we wish to as¬ 
sure our friends and well-wishers that we 
will do everything in our power to deserve 
the confidence which they have placed in us. 

It is very encouraging to receive the kind 
of commendatory letters which accompany 
the remittances. 


Philadelphia, Pa., Nov. 19, 1908. 
Hillside Press, Pub. 

We desire to thank you for the copy of Photo- 
Engraving Art sent us, which is, we think, nicely 
arranged, attractive and full of interesting matter. 
Wishing you every success in your enterprise, we 
are Very truly yours, 

(Signed) Dill & Collins Co. 


New York, Dec. 8, 1908. 

Hillside Press, Pub. 

Enclosed please find one dollar in payment for one 
year’s subscription to Photo-Engraving Art, the 
first copy of which we read with much interest. 
Wishing you the best of success, I am 
Very truly yours, 

(Signed) Alexander Nicholas Kahn. 


St. Louis, Mo., Dec. 4, 1908. 

Hillside Press, Pub. 

We have just received a copy of the first number 
of Photo-Engraving Art, and we wish to congratu¬ 
late you on its appearance. Wishing you success, 
we are, Very truly yours, 

St. Louis & Canadian Photographer. 


Dallas, Texas, Dec. 6, 1908. 

Hillside Press, Pub. 

I have looked over your interesting little maga¬ 
zine and think you have a winner and are filling a 
long-felt want. A magazine dealing with the photo¬ 
engraving business as yours does is something we 
have long been in want of. 

Very truly yours, 

(Signed) J. C. Brockhausen, Sec. Local 38. 


Buffalo, N. Y., Nov. 25, 1908. 

Hillside Press, Pub. 

We enclose herewith $1.00 for a year’s subscription 
to your paper. We also enclose clipping from a let¬ 
ter we received this morning from a customer who 
has been ordering zinc etchings for years. We 
clipped the “Will Smile” article from your first 
number and sent it to him. Hoping your enterprise 
will be successful, we are 

Very truly yours, 

(Signed) Buffalo Engraving Company. 

(Enclosure with the above letter.) 

Buffalo Eng. Co., Gentlemen:—We note on your 
invoice of November 13th, No. 6126, that you bill 
us zinc etching at .60. This etching measures 2^4 x 
iY a inches. At this rate you are charging us more 
than 10 cents per square inch. Will you kindly ad¬ 
vise what your regular rates are? 


The first issue of a new periodical is always in¬ 
teresting, and Volume 1, No. 1, of Photo-Engrav¬ 
ing Art is one that should appeal to all interested 
in publications devoted to this trade .—American 
Printer. 









42 


PHOTO-ENGRAVING ART 


MISCELLANEOUS BITS 

The Penrose Annual, whose advertise¬ 
ment appears on another page, will be 
ready for distribution about January ist, 
1909. 

;jc 

The Eclipse Electrotype and Engraving Co., 
of Cleveland, has placed an order with 
William Henry Baker for 2,500 copies of 
“The Dictionary of Engraving,” of which he 
is the publisher. 

* * * 

A twelve-year-old contemporary of ours 
announces our arrival as one of the “drops” 
in the old saw, “it never rains but it pours.” 
In defense of our presumption to arrive we 
wish to say that a little rain of the kind we 
hope we are will do no one any harm, and 
we are going to make a mighty hard effort 
to be a benefit to our readers. 

^ ^ ^ 

Mr. Frank E. White, Eastern representa¬ 
tive of the Ostrander-Seymour Co., of Chi¬ 
cago, as a starter sold the Thorp Engraving 
Co., of New York city, a complete plant, in¬ 
cluding everything necessary to transact 
business. All machines are driven by indi¬ 
vidual motors. 

* * * 

Business has been equally good for the 
Ostrander-Seymour Co., in other parts of 
the country. During the last month they re¬ 
port having equipped with complete plants, 
The Buchanan Engraving Co., 22 E. Ran¬ 
dolph street, Chicago, The Tennessee En¬ 
graving Co., Chattanooga, Tenn., Mr. Mich¬ 
ael McDonnell, Cincinnati, Ohio, and Mr. 
Earl Olson, La Crosse, Wis. 

* * * 

Our idea in running a column of artists’ 
cards is to bring the names and addresses 
of artists before the photo-engraver, or ad¬ 
vertising man who is in need of the assist¬ 
ance of a specialist in retouching, illustrat¬ 
ing or designing; sort of a mutual benefit 
association. Take advantage of it. We’ll 
vouch for the quality of work they’ll give 
you. 

* * * 

Just as we were going to press we re¬ 
ceived a copy of the initial issue of the of¬ 
ficial journal of the I. P. E. U. of N. A., the 
“American Photo-Engraver ,” edited by Presi¬ 
dent Matthew Woll. We wish to extend to 
President Woll and the I. P. E. U. our 
heartiest congratulations, and trust their en¬ 
terprise and effort will be crowned with 
success. 

* * * 

February 12th, 1909, every American will 
celebrate the one hundredth anniversary of 
Lincoln’s birthday. Now is the time to be¬ 
gin to think up novelties for your customers’ 


use. There will be many cuts and pictures 
of Lincoln and his family, the old home¬ 
stead, etc., used at that time, and engravers 
should prepare copies and designs now. 

* * * 

J. D. writes: “I received the initial issue of 
Photo-Engraving Art, and am much inter¬ 
ested in the possibilities of your publication. 
I can easily see how a magazine of the nature 
of yours can be of great value to a man in 
my position. I am an advertising man and 
use many cuts, line, half-tone and electro¬ 
types, and while I know a good cut when I 
see it, I have not the remotest idea how they 
are made. Let me suggest that you present 
as many articles as possible in non-technical 
terms, so that other laymen as well as my¬ 
self can understand and get a fair idea of 
the processes necessary for the making of 
cuts. I wish you success and trust you will 
pardon my presumption.” 


Editor’s Note. —We will pay $5.00 for the 
best five-hundred-word explanation of the 
production of a line cut, and a similar amount 
for a description of the production of a half¬ 
tone. For the second best in each case, we 
will give a year’s subscription to Photo- 
Engraving Art. 


WINSOR & NEWTON’S 

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For Spotting and Retouching for 
Reproduction 

FIVE TINTS IN LARGE TUBES 



Goods bearing this trade-mark have received universal 
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For Process Reproduction 
IN LARGE BOTTLES 

WINSOR & NEWTON, Ltd. 

OF LONDON 

298 BROADWAY, NEW YORK CITY 

Our goods are sold by all art dealers 






PHOTO-ENGRAVING ART 


43 


(Continued from page 29.) 

we have always given every plate which 
you receive one bite more than is 
thought practicable by all expert en¬ 
gravers. To etch deeper would mean 
to weaken the small or highlight dots 
to such an extent that they would not 
stand the pressure of matrix making, 
and would also have a tendency to un¬ 
dercut, this would produce an over¬ 
hang which would tear out the mats 
and cause a bad blur in printing. 

“Our end was all right, so I decided 
to see just what could be done at your 
end, so I visited your pressroom and 
made the acquaintance of your press 
room foreman. He seemed to be a 
conscientious fellow, and appeared to 
be trying hard to achieve results. He 
said that he had tried every expedient 
known to his trade. Had discussed the 
matter with pressmen in other shops. 
Tried all their suggestions, but seemed 
to get deeper in the mire the harder 
he tried. I inquired if the ink or paper 
could be the cause, but he assured me 
that they could not possibly be as he 
was using better ink and more expen¬ 
sive paper than most of your contem¬ 
poraries. Suddenly, while talking, he 
ordered the presses stopped and had a 
plate removed, explaining that he 
wished to put an underlay beneath it, 
as it was not showing up darkly 
enough. To me it appeared to be just 
the proper effect, but I decided to wait 
and see what the result would be. 
After the presses had been running a 
while he brought me a copy of the 
paper to show how much better the 
cut showed up.. It was blacker—I had 
to admit that—but the halftone effect 
had to a great degree disappeared. I 
made no comment, an idea had flashed 


through my mind and I asked him to 
introduce me to the foreman of the 
stereotyping department. This he did, 
and I found him as interested as the 
pressman. He explained that he and 
his men were always striving to get the 
best results. The assistant stereotyping 
foreman explained that in his opinion 
the presses were run too fast. Five 
years ago, when your edition was less 
than half what it is to-day, he said, the 
pressmen would commence at six and 
print slowly on the magazine section 
till eleven thirty, while now you print 
double the number of papers, and the 
pressmen commence at nine and work 
till eleven thirty—two hours and one- 
half—the consequence being that the 
presses must run at top speed—four 
times as fast. 

“While this might have some effect 
on the result I did not give it serious 
thought, as I figured that the presses 
being of the latest improved pattern 
should be expected to produce satisfac¬ 
tory results at top speed. 

“I then visited the matrix-making 
department and arrived just in time to 
see a matrix made. The page con¬ 
tained a two-column cut, and after it 
had been run through the preliminary 
roller, the journeyman thumped the 
portion which contained the cut with 
a matrix-making brush in a perfunctory 
way. Here, another idea struck me, 
was a flaw in making which must be 
improved. I asked the workman if he 
had ever tried placing a piece of blot¬ 
ting paper on the back of the portion 
of the matrix which had a halftone cut 
in it. 

“ ‘Naa/ he said, 'it is always done 
this way. Nobody never does it no 
other way!’ 

“But, I persisted, I think it would 



44 


PHOTO-ENGRAVING ART 


be a good idea to try it. So he made 
over a matrix, cutting a piece of blot¬ 
ting paper to fit over the back of the 
matrix to press it deeper into the tone. 
I saw to it that a plate was cast off each 
matrix and submit the result. The 
paper marked one is from the brush- 
finished mat, and number two was made 
using the blotting paper. Number two 
is even and clear, while number one is 
uneven and streaky. 

“While I stood to one side watching 
the make-ups preparing a form for the 
steam tables, I noticed, as a boy was 
removing the superfluous leads, that a 
three-column cut in the centre of the 
page was considerably higher than type 
high because, as he slid the leads 
across the page to scoop them into his 
apron a number stopped on the sides of 
the cut. I sought out the composing 
room foreman and pointed out the page 
and told him I would want that cut just 
as it was on the block after the matrix 
was made, and did not want the matter 
disturbed. After a while he gave it 
to me. I then borrowed a micrometer 
gauge from the lintotype machinist and 
discovered that the height was 12/1000 
higher than type high. Learning that 
there was a shaving machine in the 
stereotype department, I took the cut 
there and ordered the blocker to put it 
through the machine, as I thought it 
was too high. As he did so, he re¬ 
marked that it was better that it should 
be high than low, and added that it was 
customary to watch carefully to see that 
they were not blocked lower than type 
high. They had no definite instruc¬ 
tions on a specific height, only it 
shouldn’t be low. Well, I told him to 
shave it exactly type high, which he 
did. I then had him put two sheets 
of paper under the cut and shave off 


some more. He did as directed, and 
said: Tt’s a cinch that cut will not 
amount to much if they try to print it 
in the paper.’ 

“I took it back to the composing 
room and had the page locked up again. 
I had a piece of blotting paper placed 
over it while the mat was being made 
and hand you herewith the two results. 
The first is the result which you have 
been getting, and the second is the re¬ 
sult I obtained. The first is black and 
indistinct, and the second is crisp and 
full of detail. Both are from the same 
cut. My theory, gentlemen, is that the 
only way to get good results from coarse 
screen halftones on a web press print¬ 
ing from stereotypes is to mount the 
cuts a trifle less than type high and cut 
an overlay for the solids or blacks.” 

“But it is against all precedent,” 
broke in the Business Manager, “I’ve 
had some thirty years experience as a 
printer. In fact I have worked at the 
case, on the stone and fed anything 
from a kicker Gordon to a cylinder, and 
whenever a halftone didn’t print up 
properly, we would always raise it or 
add an overlay. No, your theory is 
wrong. You might get good results in 
isolated cases, but I’m afraid you will 
not find it practicable in the long run.” 

“Against all precedent?” asked the 
Engraver. 

“Yes.” 

“You wouldn’t like to have me show 
you how to stand an egg on its end, 
would you? You know it is possible.” 

“Oh what is the use of dodging the 
issue?” testily asked the Business Man¬ 
ager. 

“Well, the wireless telegraph was 
against all precedent, but it is a com¬ 
mercial possibility to-day, is it not?” 
asked the Engraver. “But we are get- 





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Once I demonstrate to you that I save you at least 50% of your 
cigar money, because I make every cigar I sell and sell them direct to 
the smoker, cutting out every in-between profit, I am sure you will buy 
your cigars from me regularly. For that reason I am satisfied to give 
you more than my profit on your first order and send you FREE a box 
of Old Fashioned Havana Smokers, a box of a new kind of Smoking 
tobacco, and a patented cigar cutter. 

If you’d rather smoke quality than looks, if you don’t buy a cigar 
for what it seems but for what it contains, let me send you 100 of my 

KEY WEST 

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They are by no means handsome cigars. I haven’t pasted pretty 
pictures on the box, nor have I placed bands around each cigar. I don’t 
believe in scenery. THEY LOOK ROUGH BUT TASTE SMOOTH 
and in taste are the equal of any 3 for a quarter cigar. They are irreg¬ 
ular but none shorter than 4 l / z inches, some even longer. I call them 
Seconds because they are made from the shorter pieces of tobacco which 
is used in my finest brands. I am really selling you two dollars’ worth 
of Havana Tobacco with nothing added for rolling it into cigars. 

The above offer holds good up to and including Jan. 
21st, and, of course, applies only to your first order 

I can produce only a limited number of these Seconds and therefore will not sell 
more than 100 to any one new customer as I want to interest as many new Smokers 
as possible by this Special “Get Acquainted” offer. 

f for your cigars. Buying them 
■ m a on credit means that you have to 

^11 pay for the cigars “ the other fel¬ 
low ” bought and did not pay for 
Send me $2.00 fcheck, money-order, draft or bills) for 100 
Genuine Key West Havana Seconds and the three free articles. 
You needn’t hesitate, if, after trying them, you like your money 
better than the cigars — it’s yours. You can’t go wrong. 

Dept. I 64-66 and 67-69 W. 125th St., New York 

Make remittance payable to Edwin Cigar Co. 
ferences : The State Bank of New York, Dun and Bradstreet’s. 


































46 


PHOTOENGRAVING ART 


ting away from the point at issue, let 
us take the matter up from the prac¬ 
tical side. Have any of you gentlemen 
ever looked at a zinc halftone through 
a powerful magnifying glass?” 

“I have,” said the Managing Editor. 

“And I,” said the Business Manager 
and the Sunday Editor in a breath. 

“Did you ever saw a cut in two and 
note the depth of the etching? No? 
Well, if you did you would be surprised 
at its extreme shallowness and would 
wonder how it is possible to obtain any 
results at all, much less satisfactory 
ones. 

“Now the Business Manager claims 
that he is an old pressman, and I’d just 
like to ask him if it was customary to 
use a hard or soft typan for the cylind¬ 
ers and beds of the kind of presses he 
fed in his time? 

“Why a hard one of paper of course,” 
exclaimed the Business Manager. 

“Exactly,” exclaimed the Engraver. 
“Now, another question: What do you 
use on your web perfecting press cyl¬ 
inders to-day, a hard or soft backing?” 

“Why, we use a blanket.” 

“Right. Now as I said just a minute 
ago, if you will inspect a cross sec¬ 
tional cut of a zinc halftone you will 
be surprised at its shallowness. In its 
deepest part, the highlights, you will 
find that it is seldom more than 5/1000 
or 6/1000 deep, and in the blackest, the 
shadows, the depth is infinitesimal. 

“Now suppose a cut is etched 6/1000 
of an inch deep and is blocked from 10 
to 12/1000 higher than the surrounding 
type matter, what is the logical result 
when stereotypes of soft metal are on 
the press and the paper is being rapidly 
printed from them, oily ink, compara¬ 
tively soft blanket backing and a paper 


which acts a good deal like blotting 
paper ? 

“My theory is that not the dots or 
surface of the cut are being printed but, 
rather, that the etched-out or back of 
the cuts is being squeezed into the pa¬ 
per. This causes the blurred, heavy, 
unsatisfactory effect which you would 
like to avoid. Further, it does not take 
many thousands run to wear down the 
dots in the halftone so that no amount 
of washing out will make them print 
better. To prove this I hand you the 
three-column cuts which I had sawed 
from the plates used to print the papers 
which I just showed you, the one which 
was mounted too high is all mashed, 
while the other is just as good as the 
surrounding type. 

“If the cuts are mounted a trifle lower 
than type high the surrounding type 
acts as a brace or offset and insures a 
much more uniform and crisp effect. 

“Your ink is cheap, at most it costs 
7c. a lb., is thin and oily. The paper is 
made from wood pulp and acts a good 
deal like blotting paper, especially when 
the surface is broken as it is when the 
plates are pressed through the outer 
coating. 

“For the past two weeks all cuts have 
been mounted 011 blocks two thicknesses 
of paper less than type high. The re¬ 
sult you commend—the means to the 
end you may question, but ‘seeing is 
believing.’ ” 


TO GET RID OF ROLLER STREAKS 

Every job pressman knows how aggravat¬ 
ing it is to have a roller streak on a small 
cut, often necessitating double rolling. I 
have remedied this many times by having 
a piece of old brass rule bent at one end to 
right angle so that it could be locked in the 
bottom of the chase over to one side and 
extend about two or three inches below it. 
This changes the action of two of the rollers 
on their upward travel .—American Printer. 



flThis cut represents the Standard Interchange¬ 
able Air-Brush for the photo-engraver,fitted with 
lightning interchangeable glass jars or metal 
side cups all in one brush. Illustration 
shows the exact size of the instru¬ 


ment. It weighs only 

1 V 2 


ounces. 



All the main 
parts are on the 
outside of the shell, 
adjustable for high or low 
pressure. ith one movement of 
the index finger and with a sweep 
of the hand it will go from a hair 
line to a broad spray. Any kind 
of colors may be used. A** A** 


“ Construction Simplicity ” 

For further information and prices address the Patentee and Manufacturer 

155 W. MADISON ST. 
CHICAGO 


O. C. WOLD 


In answering 


please mention “ The Photo-Engraving Art ” 



<©ualttp in tfjc jgegattbe 



gr\ The making of the photographic negative is 
not only the first but the most important 
step in the mechanical processes involved in 
photo-engraving. A chain is no stronger than 
its weakest link, and by the same reasoning you 
can’t get the quality in your finished product 
unless you have it at the start. that means 
your lens must be right. With a 


#oet? “Croces# 


yy 


- YOU are insured of the necessary quality in the 

Usm^isfree from coma* axial and marginal spherical aberration. It is faster than 
ordinary process lenses, workinlldtj pTcei workers 

recommendation. 



C. p. (goer? American Optical Co. 52 Union »q. iSetoforfe 













READY 


January 15 or Earlier 

A Volume of Superb Interest 
to All Process Workers, Illus¬ 
trators, Designers, Advertisers, 
Printers. 

Covers the whole range of 
reproductive methods. The 
edition is limited. Order to-day 
and avoid disappointment. 


PENROSE’S 

PICTORIAL ANNUAL 


THE PROCESS YEAR BOOK 

1908-9 


A COMPREHENSIVE SURVEY OF THE GRAPHIC ARTS PROFUSELY ILLUS¬ 
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63 COLOR PRINTS 

in 5-colors; 4-colors; 3-colors, and 2 colors. 

100 SUPPLEMENT ILLUSTRATIONS 

showing many different process methods in line and tone, such as the new Paynetype 
direct engraving process; grain and ruled screens; lead and 
wax mould electros, etc., etc. 

PHOTOGRAVURE FRONTISPIECE. 

FIFTY-FIVE PRACTICAL ARTICLES 

by experts, describing the new processes, methods and advances of the year in all 
branches of process work. About 300 pp.; 7x10x1 1-2 in.; 
strongly bound; designed covers. 

PRICE, $2.50. Carefully Packed, Express Prepaid 

Complete Contents Circular Free on Request. 


TENNANT & WARD, American Agents 

124 EAST 25TH STREET, NEW YORK 
















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Manufacturers and Dealers in everything 
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FIGURING 
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One instant setting gives you all possible reduction or enlargement 
sizes of the copy, together with the cost of the cut 
as quickly as the eye can read 




The attached 
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Made of heavy cardboard with moving disk and celluloid guide 

COSTS $ 1.00 ONLY 


- Send remittance and get one from — 

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Business Man’s Calculator 
Makes Figuring Easy 

One instant’s setting of inner and outer 
disks gives you all possible proportional 
combinations of figures as quickly as the 
eye can read 

Made of heavy cardboard with revolving center disk 
and celluloid guide 


SAMPLES 

What are the possible reductions and enlargements of 
the cut size 11x4/4 inches? 

Outer disk || Set 11 | Under 5, 6%, 13)^, etc. 

Inner disk || To 4.5 | Find 2 a /64, 2 2 Ys 2 , 5 Ylo, etc., Answers. 

What would be the rate for various portions of the week 
of the salary $22.50 (54 hours a week) ? 

Outer disk || Set 22.50 | Find 3.75, 5.21, 11.35, etc., Answers. 

Inner disk J To 54 | Above 9)4, 12)4, 27%, etc. 

What is the price of cuts of all possible sizes, price per 
inch being 14)4 cents? 

Outer disk || Set 145 | Find 1.38, 3.92, 21.08, etc., Answers. 

Inner Disk || To 10 [ Above 9)4, 27, 145)4, etc. 

P. S.—Number of square inches is figured by this device automatically in an instant. 


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Sample Copy of the Bulletin Mailed Free 
















pijntn-iEngrautnn Art 


Volume 1 


The Hillside Press, Publishers, Richmond Hill, N. Y. 

FEBRUARY, 1909 


Number 4 


CONTENTS 

Frontispiece, ABRAHAM LINCOLN 

Drazvn by Tom Fleming. 50 

CONCERNING THE COST OF HALF-TONES 

By George H. Benedict. 51 

THE ENGRAVING OF A LINE 

By Tom Fleming. 53 

ON THE DETERIORATION OF LINE WORK 


By Franklin Booth and Hayworth Campbell. 

PRACTICAL HINTS FOR PRINTING AND CARE OF CUTS 


From the American Printer . 60 

EDITORIAL—THE QUESTION OF PRICE. 62 

REVIEW OF THE ARTS AND CRAFTS AND 

PENROSE’S PICTORIAL ANNUAL. 64 

DON’T THROW THE BLAME WHOLLY ON HARD LUCK 

By John K. LeBaron . 67 

PROGRESS DEPARTMENT... 69 

Copyright, 1909, by The Hillside Press, Publishers 


is the most essential part 
required to make a 
good negative 


J E S_ l_ 1 T A O 

GERKEN BUILDING 

90 WEST BROADWAY NEW YORK 


WATTdllFYTimiM 





We can give you both 





Qjhtalttg anil IGnut flrirpa 



1 M 19 9 


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f 6 and / inch Plate Glass 
Crystal Plate Glass 

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MANUFACTURED BY 


— Established looV 

L. SOLOMON 


' 



Importer and Dealer 

215 Bowery New York 



"MIX IT AS YOU NEED IT " 



Cut this advertisement out and enclose it with 
name for large FREE SAMPLE 














































ABRAHAM LINCOLN 

Illustration for “The Engraving of a Line.” By Tom Fleming. (See page 53.) 
Engraved by the Powers Photo-Engraving Co., 154 Nassau Street, N. Y. 










































Two Copies Received 

FEB 19 1909 


Copyright Entry 



gubltsljeb i!mul?h| itt tl}e 3ntn*^ata of Hakcra anh lorro of $U| 0 ta-lEtigrammi 


VOL. I., NO. 4. FEBRUARY, 1909 


CONCERNING THE COST OF HALF-TONES 

By GEORGE H. BENEDICT 

President of the Globe Electrotype and Engraving Co. 


I N the infancy of the process some 
one guessed that 60c. per square 
inch was about the proper rate for half¬ 
tones, but wisely concluded that a one- 
inch half-tone could not be made for 
60c.; therefore decided that $6.00 for 
ten square inches should be the mini¬ 
mum charge. 

The accuracy of the surmise that a 
square-inch rate and a ten-inch mini¬ 
mum was the correct method of put¬ 
ting a value on half-tones was not 
questioned until competition had low¬ 
ered the rate until the cost of produc¬ 
tion and the minimum charge had come 
together. 

It is an accepted theory of the photo¬ 
engraving craft that photographers 
should make from ten medium to 
twenty of the smallest and an average 
of fifteen negatives per day, and that 
the crew that make up the force to com¬ 
plete the cuts can keep up with the 
photographers regardless of the size of 
the negatives or cuts. 

The smallest negative or cut con¬ 
sidered is one containing ten square 
inches, or less. A medium negative is 
any size up to 8 x 10 inches; therefore, 
twenty minimum negatives and cuts, or 
200 square inches, is a good day’s 


work, and ten 8 x 10 negatives and 
cuts, or 800 square inches, is no more 
than a good day’s work, with the out¬ 
put in intermediate sizes in gradually 
increasing proportions, and the only dif¬ 
ference in the cost of a day’s work is 
the cost of the material used. It is, 
therefore, obvious that the labor cost of 
minimum half-tones is four times as 
great per square inch as 8 x 10 half¬ 
tones, and that there can be no square- 
inch rate or so-much-per-cut basis of 
figuring the cost or a consistent selling 
price for half-tones. 

Considering that the possible daily 
production of half-tones and zinc 
etchings by the same crew of men 
varies with the size of the cuts, and that 
the cost likewise varies with the size, 
it is plain that the buyers of large cuts 
are being taxed beyond reason to make 
up for the lack of profit on small cuts. 

For example: The material used in 
making four 2^4 x 4 cuts is no less than 
will be required to make one cut 6x9, 
containing 54 square inches, face meas¬ 
ure, from one subject, for which you 
will charge, at 15c. per square inch, 
$8.10, which is two dollars and ten 
cents more than you would charge for 
the four separate cuts at $1.50 each, 















52 


PHOTO-ENGRAVING ART 


although you make one negative instead 
of four, one stripping and print, one 
etching and re-etching, one beveling, 
blocking and trimming, and one proof; 
and if the four ten-inch cuts are for 
different customers, you have four bills 
instead of one, likewise four packages 
to deliver, or four shipments, and four 
collections, etc., etc. 

Is it not ridiculous that the four 
operations should pay less than one? 
Would it not be more reasonable and 
consistent if the returns should be 
greater instead of less than from one 
operation ? 

You have undoubtedly noticed that 
when you have had a month filled with 
orders for large half-tones, business 
was good and profitable. 

You have likewise noticed that when 
you have had a month of handling 
small half-tones you have made noth¬ 
ing. 

Is it reasonable that with all hands 
busy your per cent, of profit should be 
less on small than on large work? 

When at the end of a month you 
have figured your profit and found that 
you have made five per cent, on your 
sales, have you thought of the possi¬ 
bility of having made a handsome 
profit on the large cuts and an actual 
less on the small cuts you have turned 
out? 

Do you appreciate that the square- 
inch rate and the profit on large work 
is the reason the price for half-tones 
has gradually dropped from 40 to 10 
cents ? 

If you keep a record of shop costs, 
and output, you have found that fifty 
per cent, of the half-tones you make 
are minimums, and if you are not 
making money, it is because you are 
giving the profit you are making on the 


large plates to the buyers of small cuts, 
and because— 

You are dividing the profit on one- 
half your output with the customers 
that get the other half. 

The square-inch rate was born of a 
guess and has kept everyone in the 
business guessing ever since. It was 
ridiculous when the business was new 
and rates were high, and it now forces 
you to sell at least one-half your prod¬ 
uct at cost or less. 

In support of the contention that the 
square-inch rate and the profit on large 
cuts is why the price for half-tones has 
come down from 40c. to 10c.—consider 
a case like this: Mr. Customer phones 
you and me to call and estimate on 
some work. I get there first, am shown 
a lot of photos, told that a portion are 
to be 8 x 10 half-tones, the rest mini¬ 
mums; look them over and name your 
price. I select the 8x10 copy and 
quote ioc.; am told to take as many as 
I want. I take all the 8 x io’s. Then 
you arrive, get the same story, offer to 
take all that are left (minimums) at 
your top price—$1.50 each. You are 
told you are a robber—that I had taken 
a lot at ioc. per inch. You conclude 
that I am a cutthroat—you won’t stand 
for it. You meet the rate and offer 
$1.00 for the minimums. How do you 
and I fare on our respective orders? 
With one camera I can easily make ten 
8 x io’s in a day; with one camera you 
are not likely to make more than twenty 
minimums in a day. I get $80.00 for 
my day’s work, you get $20 for your 
day’s work, and at $1.50 each you 
would get only $30.00 for your day’s 
work. Am I not justified in taking an 
order for 8 x 10 cuts at ioc., knowing 
that I can make as much money on 

(Continued on page 69 .) 



PHOTO-ENGRAVING ART 


53 


THE ENGRAVING OF A LINE 


How I was Inspired to Make My Single-Line Drawing of Abraham Lincoln 

By TOM FLEMING 


T T AND engraving has become one of the 

-*• lost arts. The line engravers on steel 
and copper and the engravers on wood have, 
like Othello, “found their occupation gone.” 

No more do we see the beautiful cross- 
hatched and stippled engravings on the walls 
of our homes. Their places have been sup¬ 
planted by the products of a hastier age. 
The chromo crowded out the fine steel en¬ 
graving, and was in turn crowded out by 
the half-tone, and now the three-color print 
seems fair to reign supreme until it is in 
turn dethroned by some superior mechanical 
method of engraving which is sure to crop 
up some day in this age of invention. 

In the meantime, the artist engraver lan¬ 
guishes for want of patronage and his art 
eventually dies. This is to be deplored, for 
engraving is one of the fine arts,^and in this 
beautiful family has been the especial hand¬ 
maiden of painting. According to Longhi, 
the celebrated engraver, an engraving is a 
translation. Dwelling on the general aid it 
renders to the lovers of art, he claims for it 
greater merit in “publishing and immortaliz¬ 
ing the portraits of eminent men for the ex¬ 
ample of the present and future generations; 
and, better than any other art, serving as a 
vehicle for the most extended and remote 
propagation of deserved celebrity.” 

The first engraved portraits are by Albert 
Diirer, who carried the art from infancy to a 
condition not far from flourishing perfection. 

The great school of French Engravers 
brought the art to a splendid climax. The 
school was opened by Claude Melan about 
1630. He was at the height of his power in 
1649, when he executed his famous single 
line portrait of Christ. 

Perrault in one of his beautiful volumes 
on engraving thus described this masterpiece 
of line engraving: 

“It is a Christ’s head, designed and shaded 
with his crown of thorns and the blood that 
gushes forth from all parts, by one single 
stroke which, beginning at the tip of the 
nose, and so circling on, forms most exactly 
everything that is represented in this plate 


only by the different thickness of the stroke, 
which according as it is more or less swelling 
makes the eyes, nose, mouth, cheeks, hair, 
blood and thorns, the whole so well repre¬ 
sented and with such expressions of pain and 
affliction that nothing is more dolorous or 
touching.” 

This engraving of Christ excited the ad¬ 
miration of all Europe at the time. Copies 
were sold at extravagant prices, and con¬ 
noisseurs were amazed at the dexterity o£ 
the engraver. The Czar of Russia devoted a 
special room in the Imperial cabinet of en¬ 
gravings at St. Petersburg solely to this 
exquisite print, and Longhi records that it 
was thought at the time to be inimitable 
and was praised to the skies. This print is 
known as the Sudarium of St. Veronica, and 
is now very rare. 

While touring through Europe several 
years ago 1 accidentally came upon one of 
these prints in Antwerp. After closely scru¬ 
tinizing this unique engraving, I was seized 
with a desire to emulate its beautifully rhyth¬ 
mical manipulation of line. After many 
abortive attempts, during which time I was 
repeatedly on the verge of abandoning my 
apparently impossible task, I at length suc¬ 
ceeded in producing the portrait of Abraham 
Lincoln, which appears elsewhere in this 
issue. 

In executing this work I was confronted 
by the difficulty of maintaining a uniformity 
of tone when coming to the lighter areas of 
the face after guiding the line across the 
darker portions of the hair and beard. At 
the same time strict attention had to be paid 
to the necessity of securing a good likeness; 
a difficulty which was not encountered by 
Melan, whose face of Christ was mere fancy 
and not necessarily conformable to any par¬ 
ticular likeness. 

After completing my work I regarded it in 
very much the same manner as the violinist, 
who, having performed a solo on his violin, 
cuts all the strings of his instrument but one, 
upon which he renders the same exquisite 
melody. 



54 


PHOTOENGRAVING ART 




GLIMPSES OF 
MVNICH LIFE 

BY RENE REINICKE 




From Scribner’s Magazine, 
Copyright, 1908, by 
Charles Scribner’s Sons. 


Pen Drawing by Franklin Booth. 













































PHOTO-ENGRAVING ART 


55 



From Everybody’s Magazine, 
Copyright, 1908, 

The Ridgeicay Company. 


Zinc Line Etching From Pen Drawing by H. D. Nichols. 


ON THE DETERIORATION OF LINE REPRODUCTION 

By FRANKLIN BOOTH 


r I ''HERE has been in the last few years, I 
think, some deterioration in the quality 
of line reproduction, and almost any one who 
may have given the matter attention at all 
this fact will appear past doubt. It may not. 
however, be properly styled deterioration. 
Covering all line work done, we might better 
say it is a lack of that general advancement in 
the doing and perfecting of that sort oi 
product which has characterized the doing 
and perfecting of the other kinds of re¬ 
production. 

There are obvious reasons for this con¬ 
dition ; and many reasons not so obvious but 
rather a bit more far-reaching; reasons 
which, when in a final analysis found, do 
not necessarily exist in our engraving shops. 
Without question the main reason, not to 
speak at all specifically, is the fact of the 
wide-spread popularity of the halftone in the 
recent past years. Demands for the popular 

Editor’s Note. —Franklin Booth, who draws ex¬ 
clusively for Scribner’s, is recognized as one of the 
cleverest artists of this generation. His style is 
distinctive. His pen drawings have a quality and 
atmosphere which is seldom equalled by the workers 
in the broader and simpler medium of painting. 
His opinion on the reproduction of line work is 
unquestionably authoritative. 


must always be met, or at least such a pro¬ 
cedure is good business, and as halftone and 
line reproduction are two phases of the same 
thing practically, time and attention per¬ 
sistently expended on one is naturally time 
and attention deducted from the other. From 
this very superficial fact alone it is but 
natural that line work should suffer de- 
teriority. 

But to go a bit deeper into the matter: 
there has been a deterioration in the quality 
of line reproduction along with a deteriora¬ 
tion in the quality of line drawing. I cannot 
say if poor line reproduction has driven 
artists to the tone mediums, or if bad line 
drawing has brought about and justified a 
carelessness in the matter of line reproduc¬ 
tion. I am inclined somewhat to the latter 
idea. During the period of line reproduction 
deterioration I should say that there has not 
been the demand generally for the higher 
class of line work; zinc has been cruelly 
crowded over to the second-rate place in our 
shops. Now, when the awaking approaches, 
it is naturally found a bit wanting. 

Our art students and illustrators, ambitious 
to get into the profitable work, have rushed 
into the easier, quicker and more pliable 


















m 


PHOTO-ENGRAVING ARE 


6 





From Scribner’s Magazine, 
Copyright, 1908, by 
Charles Scribner’s Sons. 


Illustration for Poem. Drawn by Franklin Booth. 
Etched on Zinc. 






PHOTO-ENGRAVING ART 


57 


mediums. Pen and ink has come to mean 
only thumb-nail and border effects, and at best 
mere sketchy stuff. Those of our artists 
who have presumed to be pen-and-ink men 
have been, one might correctly say, disciples 
of Gibson and Tom Brown; men whose 
styles are broad, bold and strong: Perfect for 
their styles, but styles that do not embody 
tonal or other subtle effects, which, if not 
faithfully reproduced, suffer. 

As against this, we have few followers of 
Vierge or Abbey or Max Klinger. However, 
it is now apparent that a time approaches 
when we shall see a revival or an advent of 
varied and individual pen-and-ink line work. 
Publishers and people have wearied of an 


overabundance of tone drawing, which, to 
speak for a moment beside the point, has in¬ 
disputably deteriorated. This reversion is 
widespread and but natural. All things move 
in waves, and usually accomplish their own 
adjustment and perfection. I am confident 
that such a tide of taste followed by a flow 
of fine art work will soon remove all lack 
of quality, or trash, or imperfections in line 
reproduction. The outlook is not so awfully 
cloudy; it might be clearer did artists feel 
absolutely confident of line reproduction. It 
might be still clearer were engravers con¬ 
strained or called upon by demand and 
high-class line drawings to show their real 
mettle. 


LINE WORK HAS NOT DETERIORATED 

By HAWORTH CAMPBELL 

Art Department, “Everybody’s Magazine,’’ New York 


XTS 7 " ITH the birth of the text-paper, line- 

* * illustrated magazine—a score of 
years ago a struggling, ill-supported infant, 
but to-day a giant of ever-increasing propor¬ 
tions—the clamor against the quality of line 
work was duly laid on the doorstep of the 
engraving houses. 

The public took a fancy to the text paper 
periodical; they adopted the youngster, as it 
were, and there you have the cause for the 
majority of the sadly inferior grade of en¬ 
graving and printing. The public supports 
the work—pays for it—so what’s the answer? 
The publishers cater to the public—that is, 
the big majority, the non-critical. 

The flood of the deplorable engraving- 
work of to-day has cast a shadow over the 
better grade of work—work that is far 
superior to the old-time efforts—but being 
in the minority, the critically inclined are 
wont to shake their heads and declare, 
“times and work are not what they used to 
be.” 

That good work can be, and is being done, 
is readily demonstrated by the double-page 
drawings by C. D. Gibson in Collier’s. Here 
we have the happy combination of thor¬ 
oughly good drawing, engraving, and print¬ 
ing. Mr. Gibson has a little trick of blot¬ 
ting some of his heavy lines, which, though 
it has its particular artistic value in the 
original, is a decided obstacle in making a 


perfect line plate. Examine any of the re¬ 
productions carefully and you will find that 
the blotted effect, as well as every quality 
of tone, intended by the artist is faithfully 
reproduced. 

So we can get good work —do get good 
results. Some modern pen and ink artists, 
in an effort to create a “style” of their own, 
often present a problem to be solved by the 
“anxious to please” engraver. These artists 
disregard reproduction entirely, “fuss” with 
their drawings, rub, scratch, and smear un¬ 
til there is not a healthy black line left. Of 
course, the result is not a vision of joy in 
an engraving house. After the printing (in 
most cases on a pulpy text-paper), the gen¬ 
eral criticism is: “Good drawing, very bad 
reproduction.” 

Then, again, this demand for illustrations, 
ordered in pen and ink for line reproduc¬ 
tion, not because of admiration or appre¬ 
ciation of any style, but because of the 
saving in paper, lessens the value of the 
picture and discourages any enthusiasm on 
the part of the artist to make “paintings in 
pen and ink.” 

This demand is also responsible for the 
artists who imagine that, for line reproduc¬ 
tion, every stroke of the pen must be clean, 
firm, and strong. I have in mind artists 
with good reputations who, although show¬ 
ing a great deal of originality and ability, 



5» 


PHO TO-ENGRA FI NO 


ART 


From 

The 


Two samples of present-day copper line etchings from drawings by C. B. Falls. 






























PHOTO-ENGRAVING ART 


59 


are so impressed by the “problems of repro¬ 
duction that they labor over their draw¬ 
ings, trying to make “good copy” for en¬ 
graving. In most cases, as an artistic pro¬ 
duction. their work is a failure—a • failure 
because of over-attention to unnecessary 
details. 

And yet, I realize that to a certain degree 
—and please note the degree—lack of qual¬ 
ity and faithfulness of reproduction is the 
fault of the engraving. 

What more can be expected when a much- 
scratched and gray pen and ink, a soft pencil 
drawing, and a heavy solid decoration (this 
ordered with all the fine, unprintable Ben 
Day tints) are put upon the same flat for 
etching? Something will surely be sacri¬ 
ficed. 1 he best of engraving houses are 
tempted to put through, together, drawings 
of conflicting mediums. Not always because 
of “RUSH," and not because of any cut in 
rates, but just the natural outcome of run¬ 
ning an engraving house on department 
store methods—a foolish form of economy 
for which the engraver can not justly be 
blamed, as he is not encouraged to give in¬ 
dividual attention. Realizing that most line 
plates are ordered for use on text paper, 
and in most cases of a cheap, pulpy quality, 
engravers will not turn out first-class etch¬ 
ings, although fully capable. 

This can only be remedied by giving the 
engraver “fairer” copy for reproduction. 
Examination of engravers’ proofs and a 
little honest criticism now and then will 
soon prove to the most ardent lover of pen 
drawing that the engraving of to-day has 
not degenerated below the scale of yester¬ 
day—yesterday meaning' a score and more 
of years ago. 

It is possible that I have pointed out the 
guilty condition—not party—but condition. 
It takes more than the ability of the artist 
or the mechanical perfection of reproduc¬ 
tion to get good results. Appreciation and 
enthusiasm, not discouraged groans about 
conditions, are all that’s necessary for per¬ 
fection. 


Philadelphia, Pa., Jan. 25, 1909. 
Hillside Press, Pub. 

We take pleasure in enclosing herewith $1.00 for 
a year’s subscription to your publication, for which 
we wish you all success. 

Gatchel & Manning, 

H. A. Gatchell. 


MORE LETTERS FROM SUBSCRIBERS 

1 he following letters are from our sub¬ 
scribers and the writers may rest assured 
that they touch a responsive chord, as will 
be attested by the effort we will make to 
merit a continuance of their confidence. 
We would like to print all we receive, but 
space forbids. We would add that if you 
like Photo-Engraving Art te'.l your friends 
about us, or better still, send us your 
friends’ names and we will send them sam¬ 
ple copies. 


Winnipeg, Manitoba, Jan. 11, 1909. 
Hillside Press, Pub. 

Enclosed please find subscription to Photo-En¬ 
graving Art for one year. If you keep up the 
pace you have set for yourselves in the first two 
numbers you will be bound to succeed. We look 
forward to getting $200 worth of information for 
our $1.00. 

Ransom Engraving Co., 

E. J. Ransom. 


Cedar Rapids, Iowa, Jan. 22, 1909. 
Hillside Press, Pub. 

Enclosed find subscription blank and $1.00. You 
were entitled to this upon receipt of the first num¬ 
ber. The craft has long needed a publication of 
this character, and you are to be complimented 
upon the manner in which you are filling this re¬ 
quire ment. 

Alden Engraving Co. 


Effingham, Ill., Dec. 17, 1908. 
Hillside Press. Pub. 

Enclosed please find check for $1.00 for one year’s 
subscription to Photo-Engraving Art. If any of 
the crafts are in need of a good technical journal 
it is photo-engraving, as at the present time there 
is not a single magazine in the United States de¬ 
voted exclusively to that work. Wishing you suc¬ 
cess, 

L. H. Bissell, Pres. Bissell Colleges. 


San Francisco, Cal., Jan. 25, 1909. 
Hillside Press, Pub. 

Enclosed herewith find $1.00 for subscription to 
Photo-Engraving Art. The writer has personally 
read your first issue and considers it in every re¬ 
spect good. There is no reason why you should 
not make a success of this publication, and we feel 
that anyone in business who refuses to subscribe 
the small sum of one dollar to it is very small. 

Commercial Art Co., 

A. F. Broad, Mgr. 


A FEW FROM ABROAD 

January 11, 1909. 

To the Editor, Photo-Engraving Art, 

Dear Sir: —May I, as the editor of the oldest ex¬ 
isting photo-engraving journal, The Process Monthly, 
congratulate you on the first issue of the youngest 
-Photo-Engraving Art. Knowing a good deal of 
the difficulties of ibis particular field of journalism, 
I feel that you have surmounted them in gallant 
fashion. Wishing your new magazine all possible 
success, I remain, 

Yours faithfully, 

(Signed) H. Snowden Ward. 


Glasgow, Scotland, Jan. 19, 1909. 
Hillside Press, Pub. 

Please send copy of Photo-Engraving Art. edited 
by Fred J, Willock, as soon as possible. Sixpence 
enclosed in payment of same. 

Dux Engraving Co. 









6o 


PHOTO-ENGRAVING ART 


PRINTING HALF-TONES 


Practical Hints for Printing and Care of Cuts 

(From The American Printer ) 


T_TALF-TONE engravings are very delicate 
to handle, and too much care cannot be 
taken in printing them to get good results. 
First of all, the cuts should be cleaned quite 
often. I have frequently noticed apprentices 
pick up rags to saturate with benzine, the 
rags often being from old clothes with but¬ 
tons on, and so it happened the cuts got 
scratched. After this, the rags were thrown 
in some dirty place around the press and used 
again, not knowing or considering what may 
have got on them. This is all carelessness, 
and pressmen should remedy it by teaching 
apprentices the importance of handling cuts 
with the greatest care. Neglect of this kind 
often causes the press to be tied up while the 
engraver is called upon to repair the dam¬ 
age. Some of these repairs require fifteen 
to thirty minutes, perhaps longer, and if re¬ 
peated these accidents mean quite an amount 
of unnecessary expense. Should you let 
them pass by as of no importance, without 
repairing the blemishes in the engravings, 
you are open to reproach and cannot expect 
to build up a reputation for good printing. 

Pressmen, too, frequently blunder in the 
use of cuts. I’ve often noticed a workman 
bending over a form of cuts carelessly per¬ 
mitting the buttons of his shirt cuff to rub 
the plates. Another criticism is this, press¬ 
men would do better if they had less regard 
for their personal opinions as to how cuts 
should look and would seek more to inter¬ 
pret what the artist tried to picture. If a 
cut contains some hard washes towards the 
edge, the complaint shouldn't be made that 
the engraver should have left more room for 
vignetting. If you try to vignette a cut of 
this kind the chances are that you’ll get a 
spotty effect. Pressmen should not try to 
alter the appearance of an O.K.’d engraver’s 
proofs unless ordered to do so. 


THE KEEPING OF GUTS 

My system for the care of cuts is as fol¬ 
lows: Half-tones and small cuts I put, after 
pulling a proof, in a Hamilton cut cabinet, 
the drawers of which are numbered. This 
proof I paste in a large, strong sixteen-by¬ 


twenty-three book. I allow two or three 
pages in book to each drawer, and number 
those pages to correspond with number of 
drawer in cabinet. When I want a certain 
cut, I look through the book, find the proof, 
look at the page number and pull out the 
drawer of the same number. 

I also keep an index book with the name 
of each cut in it and the number of the 
drawer for cuts of objects readily named. 
With from two to three thousand cuts to 
look after you can readily note the great 
saving of time. 

HELP FOR CLOSE REGISTER WORK 

On long runs of close register work 
which remain on the press for several days 
at a time, a good plan whereby register is 
assured is to oil the manila top sheet all 
over with machine oil, which draws the top 
sheet smooth and tight; and to prevent the 
tympan from ‘‘bagging” over night during 
damp weather, place a large, heavy card to 
the guides when leaving work at end of day, 
and lay a folded newspaper over the card 
and entire tympan. This prevents the damp¬ 
ness from affecting the register and tympan. 


TYPE-HIGH PLANER 

This machine has only been in use a short 
time, and is too expensive for the small 
office having little cut work. 

The object of this gage is to bring all 
mounted cuts to a uniform height before 
going to press. 



Many large offices have a man whose 
business it is, as soon as cuts are received, 

















PHOTO-ENGRAVING ART 


61 


to go over them carefully and if found too 
high to plane them down, and if too low to 
remount and bring to type height. 

With bringing the cuts to type height it 
is also desirable to square them. 

This method is a good one and many 
hours are saved in the press-room. 


GETTING RID OF FUZZY CARD EDGES 

When printing half-tone subjects on 
heavy cardboard on job presses, the work 
is more or less difficult when the cardboard 
is cut on a regular cutting machine which 
causes a ‘“fuzz” or “hairy edge” to adhere 
to the cardboard. This “fuzz” in turn falls 
to the surface of the cardboard and is then 
conveyed to the half-tone, filling it up and 
causing the ink to “pick.” 

The remedy: A quantity of raw cotton is 
wrapped around a thin board, size about 
three-by-six inches. The board is then 
nailed to the edge of the feed board, and as 
the press is operated the feeder takes each 
card and turns it over while feeding, draw¬ 
ing it over the cotton-covered strip quickly. 
This causes the “fuzz” or “hairy” edge to 
fall to the floor, making each card perfectly 
clean. A little practice on the part of the 
feeder is all that is necessary. 


PULLING PROOF IN TWO OR MORE 
COLORS 

Make ready as for one color, then set 
gages and print several sheets of thin, 
tough, stiff paper. Select one sheet for each 
color, ink the back with a proof roller in 
color desired and cut out portions from each 
sheet, so that when the sheets are all fed 
to the gages again, one over the other, with 
a clean cut-out sheet next to the proof sheet 
at the bottom, and an impression is taken, 
all the colors will be impressed on the proof 
sheet at one impression. Or ink the sheets 
after cutting out. 

Colored carbon papers can sometimes be 
utilized in this manner. Borders or complex 
forms will require narrow connecting seg¬ 
ments to be left in the cutting, to hold the 
stock together. For two-color proofs, 
orange and black, for instance, ink the press 
in black, a sheet of paper with orange, all 
black cut out, and place the latter over a 
clean cut-out sheet. In either case the 
“clean cut-out sheet” referred to must have 
all print cut out and simply serves as a 
frisket to keep the proof clean. For a sim¬ 
ple job, where a good press proof is de¬ 
sired in the colors to be employed, there is 
nothing to equal this method. 



Back in November the Barnes-Crosby Co., 
Chicago, sent us the little “Football Kiddie,” 
drawn by Sarah Crosby-Buck, and while we 
know that the football season is long since 
past, we make a special effort to give the 
youngster representation, because he “looks 
good to us.” We feel that most of our 
readers will agree with us that it is a fine 
printing plate. The vignetting and toolwork 
being carefully and artistically handled. 


SIMPLE AND STRONG 

The biggest concerns—the Steel Trust 
and the Standard Oil Company—have the 
fewest words on their letterheads; but Bill 
Jones in Podunk, who makes dog-collars, 
will have a lithographed heading, with a 
bird’s-eye view that includes some six or 
eight buildings that he is going to build 
some time—maybe. 

Pick out the most successful advertisers, 
like Macbeth, the lamp-chimney man, Regal 
or Douglas, shoemakers, the makers of C. 
& K. hats, or the newspaper ads of the 
Ladies’ Home Journal and notice how simple 
they are. Take the Wanamaker advertise¬ 
ments, or those of Strawbridge & Clothier 
in Philadelphia, or Tom Murray in Chicago, 
and you won’t find seventy-seven styles of 
type in them .—Profitable Advertising. 


“ ITS RECEIPT EACH MONTH WILL BE OF 
SERVICE” 

Philadelphia, Pa., Jan. 12, 1909. 
Hillside Press, Pub. 

We are in receipt of sample copy of Photo- 
Engraving Art, which we have read with consider¬ 
able interest, and feel that its receipt each month 
will continue to be of service to us. Therefore 
we inclose herewith our check for $1.00, for which 
we would be glad to have you enter our subscrip¬ 
tion commencing with the February number. 

Electro-Tint Engraving Co. 






6 2 


PHOTO-ENGRAVING ART 



Publisljpli lHontbUt in tl|c Jhttprrets of iflakpro anb Users 
of Jilioto-IEngrautng 

FRED J. WILLOCK.EDITOR. 

THE HILLSIDE PRESS 

Publishers, 

Richmond Hill, New York. 

To insure the return of unavailable manuscript re¬ 
turn postage should be enclosed. 

Subscriptions—United States and Canada, $1.00 per 
year, single copies io cents. Foreign countries, 
$1.50 per year, single copies 15 cents. 


FEBRUARY 


THE QUESTION OF PRICE 

As our leading - article this month 
we reprint a circular which has been 
profusely distributed by the Inter¬ 
national Photo-Engravers’ Association 
and has already appeared in most of the 
printing trade journals. It was written 
by Mr. Benedict about two years ago. 

We reprint it realizing full well that 
you may have read it before, and while 
we do not agree with the argument in 
its entirety, we will admit it has some 
logical conclusions. We will feel that 
we have accomplished some good if it 
brings out only one new idea on how to 
increase prices in a way that will enable 
a photo-engraver to reap the whole ben¬ 
efit of his knowledge, skill and invest¬ 
ment. 

We do not advocate raising your 
prices so high that you will lose your 
customers, but do say that you should 
maintain a scale which will be equitable 


and permit you to realize a fair business 
profit on your effort and equipment and 
still guarantee your customers first-class 
work. 

You are never so badly in need of 
work that you can afford to lose money 
on it. Should you figure to break even 
and you get the job you will lose money 
in the long run, because you are giving 
the customer a weapon to use on you 
through other customers or a rival en¬ 
graver. If your competitor learns that 
you are cutting rates he is likely to meet 
your price—not knowing your reasons 
for dropping—and both you and he are 
permanently injured, and instead of be¬ 
ing good friends and pulling together 
to mutual advantage there is likely to 
be hard feelings, which are inimical to 
the interests of both. 

We suggest that you read the article 
carefully—if you have not already done 
so—and after you have considered it 
you take time to write us your opinion 
on the matter of “What a Cut Should 
Cost to Produce,” and “The Best Way 
of Arriving at What It Should Cost the 
Customer." Your letter may not solve 
the whole problem, but perhaps it will 
bring out some other idea which in turn 
will develop still another, and so on. 

j* j* 

We do not hesitate to say that we would 
appreciate having our readers get in touch 
with our advertisers. In a magazine of this 
character the advertisements should be of 
as much interest as the other reading mat¬ 
ter. And as the advertisers are paying for 
the use of space in which to call attention 
to their products, we are going to ask our 
readers to help us by looking into what our 
advertisers have to offer. 

J* J* Jt 

Next month we will have another short 
story about Will Smile, by Chester 
Knowles. 














PHOTO-ENGRAVING ART 


63 


NOTES 

Luther s, the old reliable chemical house, 
whose advertisement appears on another 
page in this issue, is offering a prepared 
negative collodion which is giving universai 
satisfaction. A trial will convince you. 

* * * 

O. C. Wold’s airbrush has many im¬ 
provements over the old styles which have 
been so long in use. Mr. Wold’s brushes 
are backed by a reputation of long stand¬ 
ing. If you are considering the purchase of 
an air brush drop him a line and look his 
catalogue over before you place your order. 

* * * 

Abraham Solomon, who is calling on 

photo-engravers for L. Solomon, whose ad¬ 

vertisement appears elsewhere in this issue, 
is offering the trade a superior grade of 
negative glass. Send him your specifica¬ 
tions and see how promptly he will fill your 
order and how well you'll" be satisfied. 

■ 

The Business Man’s Calculator should be 
on every engraver’s desk. Its operation is 
simplicity itself, and as soon as the rules 
are mastered its use makes intricate fig¬ 
uring easy and faster than the methods now 
in use in most engraving shops. It is fine 
for figuring up the cost of cuts. It cannot 
err. 

H 5 sK 

Deck’s Pallette, which consists of a set of 
five tubes of retouch colors, which are 
mixed to give the best effects with the least 
effort, is the result of much experiment on 
the part of Francis A. Deck, of New York 
City. Mr. Deck has a world-wide reputa¬ 
tion as a first-class retoucher, and these 
colors, which are being handled by Wind¬ 
sor & Newton, are fast finding favor with 
all who have given them a trial. 

y 

* * * 

The F. Wesel Mfg. Co., of New York and 
Chicago, have just installed a most complete 
up-to-date motor-driven Photo-engraving 
plant in Baltimore, Md. The purchasers, 
the A. G. Ogden Co., Incorporated, after a 
most thorough investigation decided that the 
Wesel machinery and equipment was what 
they wanted, and placed their order with 
that concern. Everything, including the 
building with improved sky-light, is new. 
The practical men in the concern are Mr. 
A. G. Ogden, a well-known artist, who has 
been for several years connected with the 
photo-engraving business, and Mr. Chas. 
Gaybor, equally as well known as a first-class 
photo-engraver. 


WE WANT A 

LIVE 

WIDE-AWAKE ADVERTISING 

MAN 

TO REPRESENT US IN 

CHICAGO 
SAN FRANCISCO 
BOSTON 
PHILADELPHIA 

AND ANYWHERE ELSE 

51 In fact, if you consider yourself a 
bright energetic fellow, old or young, 
and you can give us all or part of your 
time, you may interest us, and we may 
put you in the way of making a little 
extra money or even a steady income. 
51 Tell us about yourself and we will 
go into details. 

The Hillside Press 

PUBLISHERS 
RICHMOND HILL, N. Y. 


rtisf s Card** 

Under this heading we will print each month a 
number of artist’s cards. Rates on application. 















6 4 


PRO TO-ENGRA VING AR T 



Half-tone from Retouched Photograph, by the Springfield Engraving Co., Springfield, Mass. By courtesy 

of the Hendy Machine Co., Torrington, Connecticut. 

(Specimen illustration from the Graphic Arts and Crafts Year Book.) 


REVIEW OF THE PENROSE PICTORIAL ANNUAL AND 
THE GRAPHIC ARTS AND CRAFTS YEAR BOOK 

BY THE EDITOR 


npHE Penrose Pictorial Annual and The 
Arts’ and Crafts’ Year Book reached us 
simultaneously. Both are fine specimens of 
the graphic arts, and to those interested we 
paraphrase the Globe Electro. & Engraving 
Co.’s advertisement, “With these two books 
on your library table the necessity for fur¬ 
ther purchases is practically eliminated.” 

As the reproduction of illustrations be¬ 
comes a more and more potent factor in the 
graphic arts, books of the nature of these 
help us to better appreciate the real advance 
which is being made, containing, as they do, 
each year’s best examples and newest thought 


developed by the foremost exponents of each 
particular branch of the arts preservative. 

As the volumes lay side by side on the 
Editor’s desk, The Graphic Arts’ Year Book 
is the most imposing, and a casual glance 
through both would lead one to believe that 
the American publication was the better book. 
On close examination, however, both volumes 
have their leading points, and while the 
Graphic Arts’ Year Book may be typo¬ 
graphically more pleasing, the Penrose An¬ 
nual presents more new things in the way of 
screens and processes. Perhaps I am in 
error, but it seems to me that the 1908-9 






















PHOTO-ENGRAVING ART 


65 


edition contains fewer examples of American 
work than it has in former years. This may 
be because the publication of the Graphic 
Arts’ and Crafts’ Year Book makes the 
American contributor feel that he should 
patronize home industries. So long as there 
are to be two Annuals dealing with the 
graphic arts, one American and the other 
European, perhaps it is better that each 
should draw only on its own producers, let¬ 


ting the comparison of results be made by 
comparing both volumes. 

It is no easy task to review two books of 
such similarity of purpose at the same time 
and do justice to them, inasmuch as they are 
deserving of more space than we feel we can 
conveniently allot to both. Even if we should 
devote a whole issue of Photo-Engraving 
Art to a review, we know there would still 
be something which would be left unsaid. 


THE GRAPHIC ARTS YEAR BOOK 


THE GRAPHIC ARTS AND CRAFTS YEAR 
BOOK, 1909. VOL. III.— The American An¬ 
nual Review of the Engraving, Printing and 
Allied Industries; 400 pages, 8x10x2 inches. 
Profusely illustrated. Published by Republic 
Publishing Co., Hamilton, Ohio. Price, $5.00, 
express prepaid. 

W E will first take up the Graphic Arts’ 
and Crafts’ Year Book. No publica¬ 
tion of this kind would be complete without 
its interestingly profound and diagramatical 
article by N. S. Amstutz, the research expert, 
nor the review of “Past Events,” by S. H. 
Horgan, sometimes termed “ The Father of 
Photo-Engraving.” 

William Gamble, editor of Penrose’s Pic¬ 
torial Annual, presents an interesting “Re¬ 
view of Process Work in Europe.” “A New 


Theory Concerning the Halftone Screen” is 
advanced by Henri Calmels, editor of Le 
Proccdc, Paris, France, and Arthur Payne, 
of England, reservedly explains some points 
about the Payne-type method of “Direct 
Photo-Engraving.” 

Four articles on the development of color 
photography are presented in an easily under¬ 
stood manner, and upwards of forty beautiful 
samples of color work show the advance in 
color-plate making and printing. 

“Commercial Photograph Retouching,” by 
William Marchant, is profusely illustrated 
with fine examples of retouched mechanical 
subjects, which were submitted by repre¬ 
sentative American engravers and printers. 



Half-tone from Retouched Photograph, by the Republican Publishing Co., Hamilton, Ohio. By courtesy 
of the American Steam Pump Company, Battle Creek, Michigan. 

(Specimen illustration from the Graphic Arts and Crafts Year Book, 1909.) 






66 


PHOTO-ENGRAVING ART 


Perhaps no one publication has ever con¬ 
tained so many really fine samples of high- 
grade retouched, silhouetted and vignetted 
commercial halftones, printed in one, two 
and three colors. The word “exquisite” 
makes a long story short. 

The selection of these cuts reflects the dis¬ 
cernment and good taste of the editor, Mr. 


Joseph Meadon, who deserves considerable 
personal credit for the comprehensive manner 
in which he has arranged the different ar¬ 
ticles. Taken all in all, the Graphic Arts’ 
and Crafts’ Year Book for 1909 is a very 
creditable production, and anyone who buys 
a copy will unquestionably not regret his 
purchase. 


PENROSE’S PICTORIAL ANNUAL 


PENROSE'S PICTORIAL ANNUAL. VOL. XIV. 
—The Process Year Book, 1908-1909. Three 
hundred pages; 7x10x1 inches. Embossed 
covers. Profusely illustrated. Published by A. 
W. Penrose & Co., 109 Farringdon Road, Lon¬ 
don, England. American agents, Tennant & 
Ward, 124 East 25th St., New York. Price, 
$2.50, express prepaid. 

r PHE Penrose Pictorial Annual for 1908-9 
is a volume of which any editor might 
well be proud. Compared with previous 
issues, nearly all of which it has been the 
writer’s good fortune to have seen, the cur¬ 
rent volume is far and away the best. It is 
larger than in previous years, and, strange 
though it may seem, presents a greater 
number of new things in the way of me¬ 
diums and methods than ever. 

The only adverse criticism the writer has 
is that the volume lacks arrangement. As 
one thumbs the pages it suggests a sort of 
“grab bag” of delight—the next picture 
may be a fine specimen of color printing, 
or a beautifully retouched piece of ma¬ 
chinery, or a new screen, or even an ordi¬ 
nary tone of a handsome woman. All good, 
but if presented in a more methodical man¬ 
ner might, perhaps, be made still more 
pleasing. 

The articles are well written and are in¬ 
teresting and instructive alike to the ex¬ 
perienced man and the tyro. 

“Alzinography;” the lithography of the 
future, is described by Frederic Sears, in an 
article which deals with the Rubel Patent 
Rotary Offset Press. “Grain Color Blocks,” 
by J. S. Sunderland, explains some points 
about the use of grain screens for color 
work. Grain color plates have been de¬ 
veloped more highly in Europe than in 
America, and for some color-work subjects 
are superior to the straight line screens. The 
“Paynetype” is described by the editor. 


The editor of the Electrotyper and Engraver, 
William Hughes, writes on “Engravers 
Paid Twenty Cents a Day.” “Some Ob¬ 
servations on the Treatment of Autochrome 
Plates,” by Prof. R. Namias, is a short but 
thorough article on the use of color plates. 

“Comparative Value of Lead and Wax 
Moulds in the Electrotype Process,” by 
George E. Dunton, of New York. This 
should be very interesting to those who 
have occasion to use electros. Mr. Dun- 
ton, who is a practical electrotyper, declares 
positively that the wax process, properly 
operated, is just as good, if not better than 
the Dr. Albert lead process. 

“The Finishing and Reproduction of Re¬ 
touched Photographs” described by C. Har¬ 
greaves, shows several methods of prepar¬ 
ing a photograph for reproduction to suit 
the fancies or uses of a customer. There 
are six plates shown and each is distinctive. 
The first is not retouched, the second is 
partly retouched, the third is all retouched, 
square finish; the fourth is silhouette and 
vignette, the fifth is all vignette, and the 
sixth is a vignetted wood cut. The plates 
were made by Wallage & Gilbert, Ltd., 
Birmingham, England. 

1 he Penrose Pictorial Annual for 1908-9 
is well worth its purchase price, and can be 
bought of Tennant & Ward, whose adver¬ 
tisement appears on another page in this 
issue. 


FROM THE PRINTING ART 

Cambridge, Mass., Tan. 28, 1909. 

Id illside Press, Pub. 

The last copy of Photo-Engraving Art is just 
at hand, and we congratulate you upon it. We 
believe that there is a good field in this country for 
a publication dealing with photo-engraving news and 
for such technical matters as we find in Photo- 
Engraving Art. With best wishes, 

The University Press, 

(The Printing Art), 

By Henry Lewis Johnson. 




PHOTO-ENGRAVING ART 


67 


DON’T THROW THE BLAME WHOLLY ON HARD LUCK 

By JOHN K. LeBARON 


T T is quite the fashion to assert that there 
A is no such thing as luck; that the game 
of deserts and rewards is poised in perfect 
equity. 

The man who actually believes this must 
belong to the class which feasts on theory 
without reference to practice. 

It is better to accept conditions as they 
are, meet and control them as best we may. 
than to shut our eyes to the truth and de¬ 
ceive ourselves with sophistry. 

The average man thinks he has had more 
than his share of “tough luck.” Maybe he 
is mistaken! 

The fact that we charge to hard luck about 
all the things that go wrong does not prove 
anything—except that the average man is 
disposed to shield himself by blaming “the 
other fellow.” 

The almost unanimous spirit of specula¬ 
tion which forms a part of the make-up of 
mankind is largely responsible for the 
charges against hard luck. 

A New York bank cashier, for example, 
commits suicide. His accounts are found to 
be short. He was the victim of his own dis¬ 
honesty; he took chances entirely unjusti¬ 
fiable. He put his head in a noose and 
pulled the rope. The note he left laid the 
blame to hard luck. There is no element 
of luck involved. It was the expected that 
happened. 

Hard luck is only chargeable when mis¬ 
haps which we have no power to avert over¬ 
take us. 

That bank employee deliberately planned 
his own ruin. 

If I were a millionaire, multi or otherwise, 
I would establish a charity to be known as 
the Hard Luck Protective League. 

When a man lost his home in a forest fire; 
when a poor man’s horse was struck by 
lightning; when a woman was widowed by 
her husband being drowned attempting to 
rescue others, those people would find them¬ 
selves possessors of dividend-paying policies 
in the league. But the man who made a 
fool investment, or ran a desperate risk with 
an automobile, or looked down the barrel 


of the gun “that wasn’t loaded,” would not 
be eligible. 

They tell us that only 13 per cent, of busi¬ 
ness men are even moderately successful. 
The other 87 per cent, charge their failures 
to hard luck. It isn’t fair. Eighty-six per 
cent, of the failures are due to poor judg¬ 
ment, neglect, greed or lack of grit. 

Hard luck often proves a friend in dis¬ 
guise. Small losses tend to make men more 
conservative and often prevent greater 
losses. 

Good luck is sometimes a greater curse 
than ill luck. Every winning ticket in a lot¬ 
tery means a thousand losses in the next 
drawing—a thousand false charges against 
hard luck. 

Before you charge your ills to hard luck 
look the situation over without prejudice 
and then ask yourself the question honestly; 
just ask yourself if you are not accusing 
hard luck for things for which you yourself 
are entirely to blame .—The Evening World. 


CARLO 

NEGATIVE 

COLLODION 

No mixing — ready for use — 
never varying—superior to any 
that can be made in the shops. 
Price $2.00 per gallon, includ¬ 
ing containers. 

CARLO 

STRIPPING 

COLLODION 

Price $1.25 per gallon, includ¬ 
ing containers. 

A free sample of each sent to any 
address on request. 

IL H. LIITIITN 

Drugs and Chemicals 

191 BOWERY, NEW YORK 




68 


PHOTO-ENGRAVING ART 


COPY—HOW BEST TO REPRODUCE THE 
VARIOUS KINDS 

COPY 

Halftone 

Metzograpli 

Zinc 

Wash drawing, water 
color, etc. [l] 

Good 

Good 

No 

Line drawing (pen-and- 
ink) [2] 

Good if 
re-engraved 

Fair 

Best 

Crayon, charcoal or 
pencil drawing [ 2 ] 

Good 

Best 

Good 

Photograph [ 1 ] 

Good 

Good 

No 

Ross paper (lines, stip¬ 
ple, etc.) 

Poor 

Good 

Best 

Reprint from wood 
engraving 11 ] 

Fair 

Good 

Good 

Reprint from halftone 

Not recom¬ 
mended 

Best 

Fair if* 

coarse screen 

Reprint from line 

No 

Fair 

Best 

Lithograph 

Fair 

Best 

Only fair 

Steel and copperplate 
engraving [ 1 ] 

Good 

Good 

Fair 

Etchings (dry point, 
etc.) 

Fair 

Best 

Fair 

Maps, intricate rule 
work, etc. [ 3 ] 

No 

No 

Good if 
good copy 

Combination wash and 
pen-and-ink 

Good 

Good 

No 

Oil paintings [l] 

Good 

Good 

No 

Type matter, writing, 
etc ( 4 ] 

No 

No 

Best 

[ 1 ] May also be photographed on w ood and engraved by hand ; 
excellent for artistic results (- 2 ] May also he drawn or photo¬ 
graphed and cut on wood [ 3 ] Wax engraving is preferable. 

M Wax engraving sometimes better adapted. 


Copyright 1908 by William Henry Balter, Cleveland. O. 


Presented with the compliments (and wtth the hope that the usefulness of this chart will 
suggest the complementary usefulness) of 

The Eclipse Electrotype & Engraving Co. 

“THE COMPLETE ESTABLISHMENT” CLEVELAND 

■ Makers of 

CuU by all Processes for Priming in one or mote Colors in Newspapers. Catalog, Marine,, T rade Journals, Etc. 

Reproduced above is a reduction of a card 
which the Eclipse Electro & Engraving Co., 
Cleveland, Ohio, is sending out to its custom¬ 
ers. To the layman and the ordinary user 
of photo-engraving, who is often “up a tree” 
when ordering cuts, this chart will come in 
handy. The full size is 5^2x10^2. 


WHAT ADVERTISING DOES 

Advertising introduces the goods and 
paves the way for the salesman. 

Advertising insures' for the traveler a re¬ 
spectful hearing when he arrives. 

Advertising brings orders when the sales¬ 
man is not on the ground. 

Advertising cements the friendship be¬ 
tween the house and the merchant. 

Advertising makes the merchant respect 
the firm and the salesman. 

Advertising increases the volume of the 


order which the salesman can secure in per¬ 
son. 

Advertising tells the merchant what the 
salesman forgets to mention. 

Advertising supports the salesman in his 
statements to the merchant. 

Advertising brings about a better ac¬ 
quaintance and understanding between the 
merchant and the traveler .—Profitable Ad¬ 
vertising. 


QUESTIONS AND ANSWERS 

We are in a position to answer any ques¬ 
tion which may come up, as we have within 
our organization or can draw on the experi¬ 
ence of other practical men who are now 
actively engaged in the production of plates 
by the photo-engraving process. 

Any question is welcome, and we will en¬ 
deavor to make our answer to the point, so 
that it will be easily understood and will 
really answer the question. 

If we find that we cannot answer the ques¬ 
tion ourselves we will print it, and in that 
way put it to every engraver in the country. 


WINSOR & NEWTON’S 

“Sprit fJalrttr” 

(Francis A. Deck, New York City) 

For RETOUCHING and SPOTTING for 
Reproduction 

FIVE TINTS IN LARGE TUBES 



Goods bearing this trade-mark have received universal 
commendation for the past seventy-six years 

ALBATA" Red Sable Brushes 
BRITISH ” finest ever made 

BLANC D’ARGENT 

For Process Reproduction 
IN LARGE BOTTLES 

WINSOR & NEWTON, Ltd. 

OF LONDON 

298 BROADWAY, NEW YORK CITY 

Our goods are sold by all art dealers 






























PHOTO-ENGRAVING ART 


C9 



THE APOGHROMAT TESSAR, 
SERIES VIII 

ITH the advent of the three-color 
process of illustration and printing 
there came a problem for opticians requir¬ 
ing the most careful and elucidatory compu¬ 
tations. We refer to the correction of pho¬ 
tographic lenses so that the color process 
may be correctly carried out without re¬ 
quiring too much time. In the beginning 
of this work very careful and somewhat 
tedious focusing had to be done for each 
exposure to insure perfect registration 0/ 
the various plates when printing. Naturally 
there were many failures and much loss of 
time in this method, so that the need of an 
Apocliromat lens was keenly felt before 
that perfect objective, the Bausch & Lomb- 
Zeiss Apochromat Tessar, Series VIII, was 
placed upon the market. 

The precise delineation, the crisp defini¬ 
tion, the even illumination, perfect covering 
power and ability of the Zeiss lenses to 
render all straight lines correctly are well 
known. The Apochromat Tessar possesses 
all these attributes, and in addition is es¬ 
pecially corrected chromatically and spheri¬ 
cally. In fact, having as a primary requisite 
to meet the needs of the color workers, this 
lens is so precisely corrected for the three 


qmtment 

regions of the spectrum that refocusing for 
each color is entirely avoided. The same size 
images are produced in exactly the same 
location with each of the color screens. 

The Tessar, Series VIII, is constructed 
from four thin elements of Jena glass. The 
two in front of the Iris diaphragm are sep¬ 
arated by an air space, while the others are 
cemented. This construction produces a 
lens which absorbs practically no light, is 
compact and requires comparatively short 
exposures. 

The lens is supplied in a brass barrel fitted 
with an Iris diaphragm, and having a slot 
for the insertion of waterhouse stops which 
are supplied at extra cost. The Apochromat 
Tessar is regularly made in six sizes, with 
equivalent focus lengths ranging from 
18 3/32" to 70 7/8", covering plates from 
14x17 to 48x60. The prices can be obtained 
from the makers. 

The Bausch & Lomb-Zeiss Apochromat 
Tessar is to-day one of the mainstays of 
color workers in many high class establish¬ 
ments. This popularity is sufficient proof of 
its excellence, and the perfect reproductions 
to be obtained direct from the goods with 
this lens makes it even more desirable. It 
is an optically correct instrument made in 
the best possible manner. 



CONCERNING THE COST OF HALF-TONES 

(Continued from page 52) 


them at ioc. as I could on minimums 
at $3.00 each? Twenty at $3.00 is 
$60.00. Ten at $8.00 is $80.00. 

For several months we have kept an 
accurate record of the number, size and 
shop cost of all the half-tones and zinc 
etchings we have turned out. 

In the shop cost we include wages, 
material, rent, power and light, but do 
not include the cost of any work 
charged as extras, or any portion of 
the office expense. 

The result is: the shop cost of all 


half-tones turned out was 9c. per square 
inch, the average cost per cut was 
$1.48^, but it is certain that cuts under 
the average size cost more per square 
inch and less per cut, and cuts over the 
average size cost less per square inch 
and more per cut. 

My theory is that one-half the square- 
inch cost, and one-half the average cut 
cost, is the true cost of a half-tone of 
any size. 

As to zinc etchings, our records show 
that the cost per square inch and per 






70 


PHOTO-ENGRAVING ART 


cut is approximately one-half the cost 
of half-tones. The output in inches, 
at almost the same expense, was double, 
but the average size of the zinc etchings 
was one-third greater than the half-tones 

Our recent records show that the ex¬ 
pense of operation is now $24.00 per 
day per camera. The average cut made 
contains 16^2 square inches. 

Fifteen negatives is considered a fair 
day’s work. 

Fifteen cuts at $1.48^2 each is $22.28. 

Fifteen cuts of 16^4 square inches 
each is 248 square inches. At 9c. per 
square inch, 248 square inches costs 
$22.32. 

The labor expense is $15.00 per day 
per camera. The total expense of 
$24.00 per day—less the labor expense 
of $15.00 per day, leaves $9.00 per day 
for material, rent, power, light, etc. An 
average output of 248 square inches at 
a cost of $9.00 is about 3^c. per 
square inch for material and other ex¬ 
penses. 

Twenty minimum half-tones of 10 
square inches (a fair day’s work) is 
200 square inches. The labor cost is 
$15.00. The material, etc., at 3 ^ 4 c. per 
square inch will cost $7.00. Total shop 
cost $22.00, or lie. per square inch. 

Ten 8x10 half-tones (likewise a 
fair day’s work) is 800 square inches. 
The labor cost is $15.00. The material, 
etc., at 3^4 c. per square inch will cost 
$28.00. Total shop cost $43.00, or 
534c. per square inch. 

Believing that selling half-tones and 
zinc etchings by the square inch regard¬ 
less of size is wrong from every point 
of view, I have endeavored by a variety 
of arguments to show:— 

First, that there is a great difference 
in the cost of producing the different 
sizes of half-tones. 


Second, that the excessive profit on 
large cuts is why the price has been re¬ 
duced to a point at which the craft 
complain of a lack of profit. 

Third, that the selling price for min¬ 
imum cuts is often less than the cost 
of production. 

Fourth, that it is not just or equit¬ 
able to divide the profit on large cuts 
with the buyers of small cuts. 

I have stated that in a month when 
the orders run to large cuts there is a 
satisfactory profit, and that in a busy 
month of work on small cuts there is no 
profit or an actual loss. 

To make a comparison I have gone 
over the record of sales and profit of 
our business for the past twenty years, 
and find that, notwithstanding that we 
are now selling half-tones for one-half 
the price we were getting in the most 
profitable period of our experience, and 
the yearly returns have been getting 
lower and closer to the cost of produc¬ 
tion and are now far from satisfactory, 
yet, owing to the conditions stated, we 
occasionally have a short period of one 
or more months in which the orders run 
to a quantity of large half-tones when 
we do make a profit equal to the best 
in the days of high prices. 

I also find that we occasionally had a 
losing month then as we do now. 

While I do not claim that my figures 
are absolutely correct, I am certain that 
minimum half-tones sold at $2.50 each 
would be no more profitable than 7x9- 
inch half-tones at 10c. per square inch, 
and I believe that a scale of prices 
based on a fixed charge of $1.50 per 
cut, plus ioc. per square inch for half¬ 
tones and one-half these prices for zinc 
etchings will be as just and equitable as 
can be devised. 




Address dept. K for booklet describing the lens, also our liquid filters and mounted reversing 
prism for process workers. We would also be glad to send samples of work done with this lens. 


(0. y. (burrs Antmratt (h^itual l£u., 73 is. 13Utlj §>t., Nnu lurk 


^This cut represents the Standard Interchange¬ 
able Air-Brush for the photo-engraver, fitted with 
lightning interchangeable glass jars or metal 
side cups all in one brush. Illustration 
shows the exact size of the instru- 
ment. It weighs only All the main 

1 V* ounrps. parts are on the 

outside of the shell, 
adjustable for high or low 
pressure. With one movement of 
the index finger and with a sweep 
of the hand it will go from a ha r 
line to a broad spray. Any kind 
of colors may be used. && 

“ Construction Simplicity ” 

For further information and prices address the Patentee and Manufacturer 


O. C. WOLD 


155 W. MADISON ST. 
CHICAGO 


In answering please mention “ The Photo-Engraving Art” 


©ualitp in tf)£ JSrgattoe 


# 7 T The making of the photographic negative is 
not only the first but the most important 
step in the mechanical processes involved in 
photo-engraving. A chain is no stronger than 
its weakest link, and by the same reasoning you 
can’t get the quality in your finished product 
unless you have it at the start. That means 
your lens must be right. With a 


#oet? “Croces# ©agor” 


you are insured of the necessary quality in the 
negative. It is specially designed to meet the demand which improved methods 
in half-tone and process work have created. It is completely corrected i or stigma- 
tism, is free from coma, axial and marginal spherical aberration. It is faster than 
ordinary process lenses, working at F. 7 . 7 . The field of view covered sharply 
at full opening is 60 degrees. The lens is used by leading process workers 
throughout the country, and its every-day work is its best recommendation. 

Especially suitable for three-color work. 


























NOW 
READY 

A Volume of Superb Interest 
to All Process Workers, Illus¬ 
trators, Designers, Advertisers, 
Printers. 

Covers the whole range of 
reproductive methods. The 
edition is limited. Order to-day 
and avoid disappointment. 

PENROSE’S 

PICTORIAL ANNUAL 

THE PROCESS YEAR BOOK 

1908-9 

A COMPREHENSIVE SURVEY OF THE GRAPHIC ARTS PROFUSELY ILLUS¬ 
TRATED WITH SELECTED EXAMPLES. 

63 COLOR PRINTS 

in 5 colors; 4 colors; 3 colors, and 2 colors. 

100 SUPPLEMENT ILLUSTRATIONS 

showing many different process methods in line and tone, such as the new Paynetype 
direct engraving process; grain and ruled screens; lead and 
wax mould electros, etc., etc. 

PHOTOGRAVURE FRONTISPIECE. 

FIFTY-FIVE PRACTICAL ARTICLES 

by experts, describing the new processes, methods and advances of the year in all 
branches of process work. About 300 pp.; 7x10x1 1-2 in.; 
strongly bound; designed covers. 

PRICE, $2.50. Carefully Packed, Express Prepaid 

Complete Contents Circular Free on Request. 

TENNANT & WARD, American Agents 

124 EAST 25TH STREET, NEW YORK 









THE KIND OF PICTURES 
THAT SELL YOUR GOODS 


Photographs 
that need the 
Minimum of 
Re to uching 

Fast Service 

High Quality 

Right Price 
& 

Indoor and 
Outdoor Work 



•PHOTOGRAPHER* 

8 2 WEST BROADWAV 
* NEW YORK* 


A Large 
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Manufacturers and Dealers in everything 
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103-105 MOTT STREET 

NEAR CANAL 




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Photograph in Setting, 2 to 1. 


One instant’s setting of inner and outer disks 
gives you all possible proportional combinations 
of figures as quickly as the eye can read, just 
like this: 

What are the possible reductions and enlargements of 
the cut size 11x4*4 inches? 

Outer disk |j Set 11 _ | U nder 5, 6*4, 13*/4, etc. 

Inner disk || To 4.5 | Find 2%4, 2 2 *4 2 , 5 Vie, etc. Answers. 

What would be the rate for various portions of the 
week of the salary $22.50 (54 hours a week) ? 

Outer disk || Set 22.50 | Find 3.75, 5.21, 11.35, etc. Answers. 

Inner disk || To 54 J Above 9*4, 12*4, 27^4, etc. 

What is the price of cuts of all possible sizes, price 
per inch being 14*4 cents? 

Outer disk |j Set 145 | Find 1.38, 3.92, 21.08, etc. Answers. 

Inner disk || To 10 [ Above 9 V2, 27, 145%, 

P. S.—Number of square inches is figured by this device automatically in an instant. 


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Pp 

Volume I 

ata-IEngrainttg 

The Hillside Press, Publishers, Richmond Hill, N. Y. 

MARCH-APRIL, 1909 

Art 

Number 5-6 





74 

75 

78 

79 

83 

85 

87 

88 
90 


CONTENTS 

Frontispiece, “THE LAUGHING CAVALIER” 

By Franz Hals. 

ESTIMATING VS. GUESSING 

By Fred J. Willock. 

RURAL ENGLAND 

By Sidney R. Jones. 

THE LEVY ACID BLAST 

By William Gamble. 

WILL SMILE 

By Chester Knowles. 

SAMPLES FROM GATCHEL & MANNING. 

PROTECTION OF THE DESIGNER. 

EDITORIAL—PERSISTENCY . 

SOME HINTS ON STRIPPING AND DRYING NEGATIVES 

Copyright, 1909, by The Hillside Press, Publishers 


(Quality 

is the most essential part 
required to make a 
good negative 

We can give you both 

(Quality anil iCmu pupa 

We will be pleased to 
have your specifications 


j 6 and / inch Plate Glass 
Crystal Plate Glass 
/ inch Negative Glass 


Established 1889 


L. SOLOMON 

Importer and Dealer 

215 Bowery N ew York 


I T A 


CERKEN BUILDING 
90 WEST BROADWAY NEW YORK 





SPRINKLE Mi®|J 
GOLD WATER A 

Sw* MANUFACTURED BY 






MIX IT AS YOU NEED IT 


Cut this advertisement out and enclose it with 
name for large FREE SAMPLE 
















































Cut made with From the Penrose 

Wavy Line Screen by Pictorial Annual —1908-9. 

John Swain & Son, Ltd. 

London, E. C. 

THE LAUGHING GAVALIER 

By Franz Hals 

Etched on the Levy Blast Etching Machine 







I wo Copies Received 

APR 23, W09 

Copyrignt Entry 

APR SB 1M 



•Publtslich ill out Mg in tljr ilntriTsts of iEakrra mth Mstra of Jlljata-fEtigramtiri 


VOL. I, No. 5-6. MARCH-APRIL, 1909 


ESTIMATING VS. GUESSING 


To the Man of Ability Belongs the Contract---A Wrong and a Right Way to Try to Secure It 

By FRED J. WILLOCK 


O NE morning in the early Spring 
the General Manager ot the 
Photo-Etching Company, in opening 
his morning mail ran across a letter, 
which read as follows: 

Gentlemen:—We are working on twelve vol¬ 
umes of “My Adventures in Jungle Land,” by 
Reddy Toosvelt, which will contain upwards of 
6,000 cuts, all half-tones. A large percentage 
will be minimums, perhaps forty per cent. The 
rest will average twenty inches or over. We 
would like to get a rock-bottom price on them. 

Please have your representative call on our 
Mr. Stuart Taylor, who has the matter in 
charge. Your early attention will oblige, 

Yours very truly, 

The African Publishing Co. 

The manager called a salesman and 
told him to see Mr. Taylor and get all 
the details, as they could use a job of 
that character to carry them over the 
Summer months. 

The salesman called on Mr. Taylor 
and was shown the dummy for the in¬ 
itial volume, also a sample of the style 
and quality of work expected. He was 
shown a large packing box full of pic¬ 
tures, at which he gave a fond but only 
a casual glance. 

Mr. Taylor explained that it was his 
desire to get the best possible price per 
minimum and square inch on his work, 
but that he did not want the work 
slighted in the minutest detail. He had, 

O 

however, received a very low bid from 
several other engravers, but on investi¬ 


gation had decided that only two of the 
number were in a position to deliver 
the goods if they were awarded the 
contract. 

He impressed upon the salesman the 
necessity of a figure being submitted 
within twenty-four hours, as the photos 
were all ready to be given out and the 
whole job must be completed within 
six months. The salesman jumped up 
and hustled out, saying as he left: 

“I'll have a price here before five 
o’clock this afternoon." 

He rushed back to the office and, 
bursting in on the business manager in 
great haste, he gasped out: “Say! 
Here’s a job we must get. Nearly 
everybody in town is figuring on it, but 
only two other houses besides our¬ 
selves are capable of handling it. All 
we have to do is to- get under their 
price and the job is ours.” 

He then described his visit, and the 
manager, elevating his eyebrows, 
asked: “What do you think will get it?" 

“Oh, I guess about seven and one- 
half cents per inch, with a seventy-five 
cent minimum will about land the job,” 
answered the salesman. 

“How do you think he feels toward 
us?” 





















76 


PHOTOENGRAVING ART 


“Why, I’m sure he’s partial to us. 
You know we have done quite a few 
stunts for him at different times.” 

“Then why don’t you try him out by 
saying you will allow him a rebate of 
five per cent, off the lowest price which 
was quoted by either of the two houses 
which he considers our only compet¬ 
itors? It isn’t possible that they fig¬ 
ure tO' lose and by ‘digging’ a little we 
may pull out. We want that job!” 

“That would be an easy way to esti¬ 
mate, but maybe he wouldn’t want to 
accept a bid in that way,” said the 
salesman. 

“Well, try it, anyway, and report to 
me. Get right down to see him while 
the iron is hot. Stick to< that job for the 
next two or three days, or until you 
land it. But, remember, we want it!” 

While the above conversation was 
taking place the representative of a 
rival concern was closeted with Mr. 
Taylor, who was explaining to him the 
requirements of the job. 

“I see,” said the representative. 
“Now, may I ask a few extra ques¬ 
tions?” 

“As many as you wish,” answered 
Mr. Taylor. 

“You say there are approximately 
six thousand copies; does that mean 
more or less?” 

“Well, the probabilities are that there 
will be considerably more.” 

“What screen do you wish to use?” 

“One hundred and fifty.” 

“Do you want any special line 
around the cuts?” 

“No line whatever.” 

“H’m. Will there be any circles or 
ovals?” 

“None. Every cut will be square 
finish; no line.” 

“Blocked?” 


“Yes.” • 

“Any retouching?” 

“Wherever necessary.” 

“How soon do you want the job 
completed? Will there be any special 
rush on any or all of it?” 

“We must have the whole job com¬ 
plete within six months, and we expect 
the engraver to average twelve hun¬ 
dred cuts a month. I should say 
that the job would be considered more 
or less of a filler, and I would expect 
a price accordingly,” answered Mr. 
Taylor. 

“ You say you have a very low bid 
from several other engravers?” 

“Yes; but I am afraid that in most 
cases their desires are larger than their 
capacities.” 

“Of course it will be necessary that 
you be guaranteed deliveries. I will 
take up the matter of our ability to ‘de¬ 
liver the goods’ later. May I look at a 
few of the copies?” 

“Certainly. Only one other repre¬ 
sentative out of all who have called has 
asked to see them.” 

“Well, you want a price and I want 
the job, and to get at a price I must 
know what is to be done. I see you 
have several bundles of portraits; have 
you any set idea about the size of the 
heads? In other words, must they all 
be of uniform size?” 

“No, we will leave that entirely to 
you.” 

“What I mean is, will it make any 
difference to you if some of the pic¬ 
tures are just head and shoulders and 
some three-quarter figures; that is, run 
about the same as the copy does, or 
must they all be run the same—all 
heads and shoulders of uniform size.” 

“I think we would prefer to have all 
the copies reproduced as is. There will 


PHOTO-ENGRAVING ART 


77 


be so many portraits that if all heads 
are the same size there will be too much 
monotony throughout the volume, be¬ 
sides it might necessitate enlargements, 
which, in some instances, would be 
likely to give poor results.” 

“How have you figured the retouch¬ 
ing? On a job of this size there is sure 
to be a considerable amount of re¬ 
touching necessary.” 

“I must confess that when it comes 
to retouching we will have to trust to 
the honesty of the engraver who is 
awarded the contract. Of course, I 
realize that it will have to be time work 
and that there is no possible way to' fig¬ 
ure in advance what it will amount to. 
All that I can suggest is that you quote 
your best ‘price-per-hour’ rate.” 

“Can I spend about a half hour look¬ 
ing over this box of photos?” 

“Just as long as you like.” 

After devoting a half hour to a care¬ 
ful scrutiny of the box of pictures and 
making notations as he went along, the 
representative decided that he had 
learned all he could possibly use to ad¬ 
vantage, so thanking Mr. Taylor for 
the opportunity to put in a bid he has¬ 
tened back to the office. 

Arriving there he figured the ap¬ 
proximate number of minimums which 
could be worked to advantage on a flat 
and the largest flat which could be 
handled economically. Figured the 
cost of a flat of minimums. Taking 
into consideration the fact that there 
would be no' line around, and that the 
negatives could be made with a prism 
camera, thus eliminating the turning of 
the negatives, and in that way saving a 
big part of the time in handling. When 
the cuts were etched there would be a 
still further saving in time when the 
cuts were being bevelled, because the 


flat could be sawed apart and four 
operations of the beveler would com¬ 
plete the mechanical part of each 
cut. 

In this way he arrived at the average 
price, adding the usual percentage for 
errors, makeovers and unexpected con¬ 
tingencies, he decided that he could 
make a good grade of half-tone cut, 
2x3, at $1.10 each, and after going 
over his costs again figured that the 
larger cuts could be made at a profit 
for 9 cents per square inch. 

He figured from his examination of 
the photographs that out of the two 
hundred and fifty he had scrutinized, 
forty would need on an average of 
three dollars worth of retouching each, 
and that the rest would need none at 
all. Taking this as a basis for figuring, 
he found that the cost would be forty- 
eight cents each. Adding twenty-five 
per cent, for profit gave him sixty cents 
each as a price at which he could make 
a fair margin of profit. 

Dictating an estimate on these lines 
he went back with a firm determina¬ 
tion to get the job at his price, realiz¬ 
ing that it might be higher than others, 
but knowing positively that it would 
be impossible to produce a better grade 
of work than that which he figured on 
for less than his concern could; he was 
fortified and in a position to devote all 
his energies to the highest grade of 
salesmanship. 

Mr. Taylor read over his estimate 
and looking up with a smile, said: 

“You are considerably higher than 
the lowest bidder and a trifle higher 
than the highest. If you are in earnest 
you will have to come down in your 
price. I am disappointed in your fig¬ 
ures, because I felt from the way you 

(Continued on page 93.) 





John Swain & Son, Ltd. 
London, E. C. 


From the Penrose 
Pictorial Annual —1908-9. 


RURAL ENGLAND 

Etched on the Levy Clast Etching Machine, 




































PHOTO-ENGRAVING ART 


79 


THE LEVY ACID BLAST 


B> WILLIAM 

1 V/T R. WILLIAM GAMBLE delivered on 
December 3d a lecture on “The Levy 
Acid Blast" before a large audience ot 
members of the trade, at the London County 
Council School of Photo-Engraving and 
Lithography, London, England. He first 
showed that it was known to all etchers 
that if acid fell in a steady stream on 
to the plate, it had the effect of re¬ 
moving the oxide, and 
keeping it bright, so 
that etching was done 
more quickly. This 
was really the princi¬ 
ple of an old French 
method of Intaglio 
Etching of Photo¬ 
gravure Plates, known 
as “eau forte a coul- 
eur,” in which the 
plate was inclined at 
45 degrees and the 
acid dashed on it from 
a jug. This method 
was shown to the lec¬ 
turer many years ago 
by an old etcher with¬ 
out the importance of 
the idea being real¬ 
ized, and it really em¬ 
bodied the principle of 
the later developments 
of mechanical etching. 

Years after there was 

published in “Process Work and The Printer” 
an article and illustrations descriptive of a 
scheme suggested in an American paper by 
Mr.'S. H. Horgan, showing how a barrel per¬ 
forated at the bottom with holes could be ar¬ 
ranged so as to rain down an acid solution on 
to a plate placed in a receptacle beneath, and 
it was suggested that means might be 
adopted of pumping back the acid into the 
barrel above. Another idea was to have a 
barrel with compartments at the top and 
bottom, and an opening at the side for in¬ 
serting the plate. The barrel was swung on 
trunnions, so that it could be revolved, and 
the end compartments were perforated, so 


GAMBLE 

that when the acid was poured into the bot¬ 
tom compartment, and the barrel then turned 
upside down, the acid rained through the 
perforations on to the plate, and thence fell 
into the bottom compartment, so that by 
turning the barrel again a fresh supply of 
acid was obtained. It was also suggested 
that an arrangement might be made some¬ 
thing like a shower bath, and the acid lifted 

by means of a rotary 
pump. This arrange¬ 
ment has been patent¬ 
ed by two inventors 
since, viz., Thorp, of 
San Francisco, and 
D a n e s i, in Rome. 
Some such ideas as 
these must have been 
passing through the 
mind of Louis Ed¬ 
ward Levy, when he 
started experimenting 
on the production of 
a mechanical etching 
machine, which was 
ultimately patented in 
the year 1899. His 
idea from the first, 
however, was not sim¬ 
ply to allow the acid 
to fall on the plate by 
gravity, but to dis¬ 
charge it with force in 
the form of a fine 
spray, and it no doubt naturally occurred to 
him that the best way of accomplishing this 
was by means of compressed air. The early 
difficulties of the inventor were chiefly in the 
direction of finding what acid-resisting ma¬ 
terials could be employed in the construction 
of the machine, and after various materials 
had been tried it was found that earthenware 
troughs with aluminum and phosphor 
bronze fittings were the most satisfactory. 
The tendency of recent improvements had 
been towards the use of less and less metal. 
The machine in its present form was the 
outcome of some twelve years’ continuous 
experiments, and it now differed materially. 



LOUIS EDWARD LEVY 







8o 


PHOTO-ENGRAVING ART 



Cross Sectional View of the Levy Etching Machine. 


with a single aspirator at the bottom. This 
was connected with a pump for supplying 
compressed air, and a solution of sulphate 
of copper was poured in the bottom of the 
trough. A zinc plate was supported a few 
inches above, and as soon as the air supply 
was turned on the copper solution was 
sprayed up on the underside of the plate, 
blackening it and thus showing the area of 
the action, proving thereby that with a large 
number of aspirators acting close together, 
whilst the plate was rocked to and fro, the 
etching must necessarily be perfectly uni¬ 
form. Although the air was no doubt heated 
by compression, it was equally cooled by 
expansion on emerging from the aspirators, 
and the inventor took advantage of this 
principle in pneumatics to absorb the heat 
caused by the action of acid on the plate. 
Another effect that was useful was that the 
suction of the air back to the blower 
through the flue opening in the etching 
trough caused a partial vacuum, which in¬ 
creased the impact of the sprays, and caused 
a current to enter the acid chamber from the 
outside through whatever crevices or open¬ 


through the blower and 
thence through the aspira¬ 
tors and etching trough, 
and back to the blower, so 
that it was being practi¬ 
cally used over and over 
again with such additional 
admixture as might reach 
the etching trough through 
the openings which it was impossible to close 
up entirely around the lid. A certain amount 
of the air and generated gases, however, es¬ 
caped through the regulating valve when 
the same was not completely closed, and 
thence through a pipe leading to the 
open air. In this way neither the blower 
nor the etching trough could become choked 
with gases, and the constant admixture 
of oxygen from the air freshened the 
acid and caused it to continue to act 
vigorously. The interior of the blower 
was constantly charged with oil, so that 
it could not be attacked by the acid 
fumes. The air pressure could be varied 
and the amount of it readily seen by means 
of a mercury gauge fixed in front of the 
flue. A good feature of the later patterns 
of machines was that the pressure could 
not be put on until the plate carrier was 
over the etching trough, and this plate car¬ 
rier could not be pulled back until the pres¬ 
sure was off, or, in other words, the valve 
was open. Whilst the etching w r as in prog¬ 
ress the plate was continuously moved to 
and fro by means of a spurred gearing 


and particularly in the direction of sim¬ 
plicity, from the one shown at the Paris 
Exhibition of 1900. 

The lecturer then described the construc¬ 
tion of the machine and particularly the 
working of the Aspirators, which were con¬ 
structed somewhat on the principle of the 
steam injector, and performed the function 
of atomizers, when submerged in the acid 
and compressed air blown through them. 
The action of these aspirators was very 
neatly shown by the lecturer by means of a 
simple model consisting of a wooden trough 


ings there might be around or under the 
lid of the acid chamber. This effectually 
prevented any fumes escaping into the room, 
as the direction of the air current was in¬ 
ward. The air supply was drawn by the 
rotary compressor from the etching trough 



































PHOTO-ENGRAVING ART 


81 


operating the crank motion. In this way 
the action of the spray was equalized all 
over the plate and the drops of acid clinging 
to it readily fell off. When the plate was 
considered to be sufficiently etched, the plate 
bolder was pulled back into the second com¬ 
partment, which formed a washing chamber, 
and a powerful spray of clean water turned 
on. The plate holder could then be turned 
back to permit of examination of the plate, 
and from the latest pattern machine the 
plate holder could be entirely removed by 
lifting it out of its connections, which was 
a useful feature for quick work, as by having 
two plate holders two etchers could work 
the machine alternately, one getting a plate 
ready and affixed to the holder, while the 
other had his plate in the machine. Means 
were provided for pouring the acid into the 
machine through a funnel-shaped aperture 
and for draining it out for cleaning purposes. 
The sink underneath the machine ensured 
cleanliness in case any etching solution was 
splashed or dripped over. 

The strength of the acid employed was 
usually about 6 degrees on the Beaume 
hydrometer, though in newspaper offices it 
was often increased to about io or 12 de¬ 
grees to attain greater speed, this propor¬ 
tion being equivalent to about three parts 
of water to one of acid. The etching 
solution could be used over 
and over again throughout the 
day’s work with an occasional 
slight addition of fresh acid, as 
the solution does not become 
sluggish in action as in the case of 
acid used in the ordinary etching 
trough. The gases and hydrate on 
the surface of the plate were car¬ 
ried off by the blast. It was 
unnecessary to varnish the back of 
the plate as there was no action on 
it, nor was there any necessity to 
localize the action from the front, 
as in the case of tub etching by 
painting the margins and large 
white spaces with resist varnish. 

In the case of half-tone work an 
etch of 30 seconds duration with 
one-half pound air pressure, and 
the acid strength of 6 degrees 
Beaume was generally sufficient 


with screens not coarser than 133 lines 
to the inch, and with coarser rulings 
the time of etching might be increased 
to about 3 minutes in the case of 
very coarse work such as 55 lines 
etched extra deep for rotary newspaper 
printing. The Fish Glue Enamel, or a Drag¬ 
on’s Blood or Bitumen top upon etching 
ink, stood the blast very well throughout the 
first etching. For line work it was best to 
employ the Dragon’s Blood Process, and 
start with an etch of about 30 seconds dura¬ 
tion with j/2 pound air pressure and 6 de¬ 
grees of acid. A second etch after the four- 
ways powdering might be two minutes, and 
a third etch of four minutes, which would 
probably be sufficient in the case of close 
work, though a fourth etch might be given 
with a higher pressure, and one or two 
minutes longer time. According to Mr. 
Levy the average time for each etch was as 
follows: First etch, 30 to 40 seconds, with 
to 34 pound air pressure; second etch, 1 to 
l l / 2 minutes, with 1 pound air pressure; 
third etch, 4 to 5 minutes, with 1^2 pound 
air pressure. In the office of “The Boston 
Herald” the Sunday magazine work is com¬ 
pleted in two bites, with a glue enamel top, 
one bite on the half-tone of three minutes, 
one fourway powdering, taking four and a 
half minutes, and then a second bite of 



Levy Acid Blast Etching Machine. 



82 


PHOTO-ENG RAYING ART 


five or six minutes. In that office the 
turning out of a full-page plate, 18x22 
inches, ready for routing inside of twen¬ 
ty minutes, was reckoned an every¬ 
day matter. The class of work done was 
shown by the lecturer with a number of 
proofs and newspapers. The reason why the 
time of etching was lengthened in England 
was due to the fact that the etchers could 
not get out of the habit of rolling-up at 
some stage or other of the process, and thus 
they did not get the full benefit of the sav¬ 
ing of time which the etching machine 
should give them. If the American Drag¬ 
on’s Blood Process with four-ways pow¬ 
dering was adopted exclusively, a much 
greater saving of time would be shown, 
especially when the Levy Etch Powdering 
Machine was used. 

The latter machine was fully described 
by the lecturer, and illustrated by means of 
lantern slides. No etcher could powder the 
plates as fast or as evenly as the machine; 
moreover, the machine never gets tired, and 
it always did work of the same uniform qual¬ 
ity. It only used gas for heating, and there 
was not the same waste of powder as in hand 
work; moreover, it was almost entirely au¬ 
tomatic in its action. 

The lecturer quoted the opinion of one 
other large New York engraving company 
in regard to the execution of high-class cop¬ 
per etching by means of the Acid Blast. 
They were doing the work in just one-quar¬ 
ter the time of hand etching, and the plates 
turned out were much superior. The color 
was retained, and the dots did not break 
abruptly where the high lights meet the 
middle tone. There was a decided softness 
instead where the two tones meet, and where 
a high light joins a solid, for instance on the 
edge of a plate, the dots did not etch away 
as in the case of hand etching. The plates 
were deeper and cleaner than they were 
before, and very fine screen work up to 400 
lines per inch could be made deeper and 
more printable. 

An important point which all firms using 
the machine were making in their advertise¬ 
ments was the greater depth obtained in 
the half-tone plates, enabling much finer 
screens to be printed on common papers, 
and with cheaper inks; and, further, that the 


plates are much more suitable for electro¬ 
typing and stereotyping, d his was obvious 
when microscopic enlargements of the plates 
were examined, which the audience were 
enabled to do by means of a number of 
lantern slides showing sections of the plates 
greatly enlarged. Amongst these were a 
series of tests made in the Bolt Court 
School with tub etching against four dif¬ 
ferent etching machines, including the Levy, 
and these results indisputably showed that 
under the same conditions as to time and 
strength of acid the Levy machine gives 
greatest depth and with entire freedom 
from undercutting. The lecturer concluded 
by saying that his view was that etching 
by machinery marked a great advance in 
the process industry, and lifted it at once to 
a higher plane, both for uniformity and 
quality, and from a commercial point of 
view. 

The application of machinery to any 
industry must always be a decided gain, 
and it was the only possible way of com¬ 
bating increasingly strenuous competition. 
Machine etching had been introduced at the 
most opportune moment, just when trade 
was on the verge of desperatioil owing to 
the extremely cut prices, and to the fact that 
small firms could do equally as good work, 
and at as low a price as the big ones, in 
spite of the capital and facilities possessed 
by the latter. The firm taking up Etching- 
Machines could gain a strong lead, and 
show advantage in price, quality and speed. 
From the workman’s point of view, the 
lecturer did not think machine etching was 
a serious menace. He had not heard that it 
had displaced labor to any marked extent, 
if at all. The men who had been put on the 
machine were, in all cases he knew of, ex¬ 
perienced etchers, and in most cases the 
best men in the shop had been selected to 
work the machine. The lecturer’s view was 
that the greater the facilities provided for 
doing the work more quickly and cheaply, 
the greater would be the influx of work; 
that was true always, and in every industry 
where machinery has been introduced. 
There might be a little displacement of 
labor for a time, but the men who were 
thrown out of employment would soon fall 
into other grooves. It was useless to sneer 


PHOTO-ENGRATING ART 


83 


at machine etching. It had come to stay, 
and the lecturer was convinced that in a 
very short time there would not be a photo¬ 


engraving firm of any consequence without 
this invaluable aid *to economical produc¬ 
tion of halftone and line plate. 


WILL SMILE 


His Explanations are Accepted by a Customer Who Also Learns Something to His Advantage 


By CHESTER KNOWLES 


“VI/" HAT screen shall I use?” inquired 
* ’ Will Smile, the entry clerk for the 
Doem Quick Engraving Co. 

“Screen-? W hy, I don’t want a halftone, 
I want a line cut,” answered the customer. 

“Well, then, we’ll have to make 
a line drawing from this copy,” 
replied Smile. 

“Why ? Can’t you make a line 
cut from that photograph?” 
asked the customer. “I wish to 
print it on a rather rough stock.” 

“No, it would be impossible. 

We can make you a coarse 
screen halftone on zinc, but not a 
line cut.” 

“Well, a halftone will not do. 

I must have a line cut, but can 
not understand why you must 
make a drawing. How much 
will a drawing cost?” 

“Oh, about $2.50,” answered 
Smile. 

“And how much would a halftone cost?” 

“One dollar and seventy-five cents. It is 
a minimum size.” 

“Yes, and I suppose there would be an 
additional charge for the line cut after the 
drawing had been made, or does the two- 
fifty cover it?” 

“The line cut would cost seventy-five 
cents after the drawing was made,” was the 
answer. 

“H’m, only a dollar and a half in your 
favor. Now, why can’t you make me a line 
cut for a dollar seventy-five from my photo¬ 
graph and cut out the drawing? I can’t see 
why you must make a drawing anyway, it is 
an exceptionally clear photo. It strikes me 
that it is ‘graft.’ ” 

“Well, I’ll tell you why in a few words,” 
answered Will Smile. “In the first place the 
processes are entirely different. To make a 


line cut, one method is employed, and to 
make a halftone an altogether different one. 

“A halftone is so called because of the 
screen which covers the entire picture and 
which enables us to produce an etching in 
which are preserved the middle 
or halftones and we get a result 
which is exactly like a photo¬ 
graph, with the exception that 
the entire picture on close inspec¬ 
tion will show a screeny effect 
all over. This screeny effect is 
what makes the cut or halftone 
printable. 

“A line cut is simply a direct 
reproduction of a line drawing, 
design or other matter, such as 
type, maps, etc., in which it is 
impossible to retain any of the 
middle tones, and the negative is 
sensitive only to certain colors, 
such as black, red, yellow, brown 
which contains a large percent¬ 
age of red and yellow, and green which con¬ 
tains plenty of yellow. Blue, unless it is 
very dark, will not photograph at all. A line 
cut negative can be made with a fast lens in 
about a minute and a half, while it generally 
takes from twelve to fourteen minutes to 
make a first-class halftone negative. 

“The rest of the process is practically the 
same in both cases, except that when a line 
cut is etched there is nothing to be done 
except to rout it, which means cut away 
the surplus metal so that there will be no 
offset in printing, while in the case of a half¬ 
tone a considerable amount of time can be 
spent on it to improve its quality by what 
is known as re-etching and burnishing. 
There is seldom any routing on a halftone 
except when it is silhouetted or vignetted.” 

“What do you mean by silhouetting and 
vignetting?” asked the customer. 













84 


PHOTO-ENGRAVING ART 


“Why, when you speak of a silhouette it 
means to be all cut out. For instance, this 
piece of machinery is what would be called 
a silhouette, and this picture of a type¬ 
writer would be considered a vignette. The 
difference between the two being that the 
background is all cut away and only the ob¬ 
ject is left in the silhouette, while to vign¬ 
ette a cut means to blend away the back¬ 
ground, and if it is properly done and well 
printed it is impossible to tell where the 
halftone begins or ends,” answered Smile. 

“Of course,” he added, “vignetted and sil¬ 
houetted cuts are much more expensive than 
straight halftones. They are generally fig¬ 
ured at the same rate as square cuts with 
an additional charge for the extra finishing 
and hand tool work. On minimums the 
charge is generally from seventy-five cents 
to one dollar and a half additional, while on 
larger cuts the price is generally increased 
from four to eight cents an inch, according 
to the amount of work necessary to achieve 
the best results.” 

“Well, say, go ahead and make a line 
drawing, and if by spending a little more 
you can get a better drawing, why, go ahead 
and do it. Don’t let fifty or seventy-five 


cents stand in the way of a good result. I 
guess you know your business. The trouble 
with me is that I have always thought I 
knew something, but I find that there are a 
number of things which I have still to 
learn.” 

“Very well, sir, you may drop around in 
a few days and we will show you the draw¬ 
ing before we make the cut,” and as the 
customer left the office Will remarked to 
himself: “It is a pleasure to deal with a 
man who acknowledges that he don’t know 
it all and will take advice in the spirit in 
which it is offered. The trouble with most 
of the ‘ginks’ who think they are wise is 
that their egotism forms cobwebs on their 
brains and an honest suggestion won’t soak 


Price-cutting means wage-cutting, and 
profit-cutting, and cost-cutting; so that the 
wage-earner, the capitalist and the supply 
house whence the materials are drawn must 
all suffer. No one in the trade benefits. 
The only advantage is given to the customer. 
— (Circular British Federation of Master 
Printers.) 


PRESIDENT TAFT’S IDEAS ON THE RIGHTS OF ALIENS 


T HE admission of Asitatic immigrants 
who can not be amalgamated with our 
population has been made the subject either 
of prohibitory clauses in our treaties and 
statutes, or of strict administrative regula¬ 
tion secured by diplomatic negotiation. 1 
sincerely hope that we may continue to 
minimize the evils likely to arise from such 
immigration without unnecessary friction 
and by mutal concessions between self-re¬ 
specting governments. 

Meantime, we must take every precaution 
to prevent, or, failing that, to punish out¬ 
bursts of race feeling among our people 
against foreigners of whatever nationality 
who have by our grant a treaty-right to 
pursue lawful business here and to be 
protected against lawless assault or injury. 

This leads me to point out a serious de¬ 
fect in the present Federal jurisdiction 
which ought to be remedied at once. Hav¬ 


ing assured to other countries by treaty the 
protection of our laws for such of their 
subjects or citizens as we permit to come 
within our jurisdiction, we now leave to a 
State or city, not under the control of the 
Federal Government, the duty of perform¬ 
ing our international obligations in this re¬ 
spect. 

By proper legislation we may, and ought 
to, place in the hands of the Federal Execu¬ 
tive the means of enforcing the treaty- 
rights of such aliens in the courts of the 
Federal Government. 

It puts our Government in a pusillan¬ 
imous position to make definite engage¬ 
ments to protect aliens and then to excuse 
the failure to perform those engagements by 
an explanation that the duty to keep them 
is in States or cities, not within our 
control. 

If we would promise, we must put our- 





PHOTO-ENGRAVING ART 


85 


selves in a position to perform our promise. 
We cannot permit the possible failure of 
justice due to local prejudice in any State 
or municipal government to expose us to 
the risk of a war which might be avoided 
if Federal jurisdiction was asserted by suit¬ 


able legislation by Congress and carried out 
by proper proceedings instituted by the Ex¬ 
ecutive in ti e course of the National Gov¬ 
ernment. 

Extract from President Taft’s Inaugural 
Address in the Senate Chamber, March 4th. 


SAMPLES FROM GATCHEL & MANNING 


While not the illustrations used in their 
interesting little booklet “The Blue-Print, the 
Artist and the Halftone,” the cuts reproduced 
herewith illustrate the ability of Gatchel & 
Manning, Philadelphia, Pa., to produce strik¬ 
ing results from a tracing or blue-print. 
Even a critical expert must admit that the 
finished cut has the appearance of realness 
which is so essential in a drawing of this 
character. 




A GOOD TIP FOR PRESS PHOTOGRAPHERS 

,/ 


How to get a quick Bromide Print for 
Newspaper Work.—First of all, you have to 
print from your gelatine negative while it is 
wet, therefore no hypo must remain in the 
film or it will upset the bromide paper, and 
a man cannot wait long for the negative to 
wash. When taken from the hypo wash for 
about two minutes, and to remove all fur¬ 
ther traces of hypo soak for one minute in 
the following: Alum, 4 oz.; citric acid, 2 oz.; 
water, 20 oz.; wash again for two minutes. 
Then soak your bromide paper in water and 
squeegee it on to the negative, taking out all 
the water bubbles. Now carefully wipe all 
the water off the front of the negative (as 
tears of water will show on the print), stand 
up in front of the light and expose in the 


ordinary way. A printing frame need not 
be used. The print will come away from 
the negative without any trouble. Now de¬ 
velop print in the ordinary way; if the print 
is no good for want of proper exposure re¬ 
peat. If the negative is of value and re¬ 
quires keeping in stock after the print is 
obtained, it is advisable to again fix the 
negative, wash, dry in the ordinary 
way, as the silver of the promide paper 
will cause it to stain if not fixed the sec¬ 
ond time. 

Press photographers often save the trouble 
of much washing of their negatives, when 
they want to print from them whilst wet, 
by interposing a piece of thin celluloid be¬ 
tween print and negative film. 


































































86 


PHOTO-ENGRAVING ART 


AN IMPROVED PROOF PRESS 

There is on exhibition at the Inland 
Printer Technical School a proof or rather 
hand press of new design that deserves 
special mention. 

The accompanying illustration shows the 
general appearance of the machine, which is 
known as the Vandercook Press, and is the 



invention of R. O. Vandercook, of Chicago. 

It is constructed on the “rocker'’ prin¬ 
ciple, by which it is impossible for the 
rocker to pull away or dip into its work. 
The bed is a heavy solid casting, with type- 
high iron bearers and gear rack. The op¬ 
eration of the rocker (or platen) in taking 
an impression is shown in Fig. 2. The 
wheels on the rocker travel in exact parallel 
with the type-high bearers below, over the 
entire printing surface. These wheels, 
while taking an impression, are prevented 
from pulling away from the work by solid 
ways which face downward, and which are 
firmly supported at the sides. The impres¬ 
sion is taken with the initial position of the 
rocker being on either side of the press. 
The rocker advances far enough on the 
extension of the racks and gears to clear 
the bed sufficiently for inking and preparing 
for the next impression. The rocker is 



Fig. 2. —Position of rocker of Vandercook Press 
when taking impression. 

made to carry a regular cylinder press tym- 
pan three-sixteenths of an inch thick. The 
tympan is held in position by clamps similar 
to those used on Gordon presses. 

The position of the form which is to be 
proved is shown in Fig. 1. The stock to be 
printed is placed above the form on a de- 
pressible frisket, which holds the stock away 
from the form until the moment of taking 
the impression. The frisket is made with a 


very simple but effective device for printing 
to register. The frisket is pushed quickly 
out of the way to clear for inking, and then 
back again in register for the next sheet. 

Because the rocker cannot pull away from 
or dip into the work, it is possible to print 
a single hair-line letter or a halftone with 
the same number of tympan sheets. 

The construction of the machine shows 
that the pressure is bound to be absolutely 
uniform all over the printing surface, there¬ 
fore it makes no difference on what part of 
the bed the work is placed, and it is possible 
to print hair-lines and cuts in combination 
without make-ready .—Inland Printer. 


NORMAN PROPORTIONAL RULE 

A. W. Penrose & Co., London, England, 
are manufacturing the Norman proportional 
rule. It consists of a polished wooden rod 
with a fixed bracket at one end and a mov¬ 
able bracket sliding on the rod, the two 
brackets being connected by a strip of heavy 
india rubber on which is printed a grad¬ 
uated scale, divided into inches and frac¬ 
tions. To find the proportions to which a 
given drawing or design will reduce the 
rubber is stretched until the number of 
inches to which the copy has to be reduced 
coincides with the width or heighth of the 
original, d he rubber measure is then ap¬ 
plied to the other dimension, the height or 



width as the case may be, and the measure¬ 
ment is read off directly on the scale. The 
Williams-Lloyd Machinery Co., 337 Dear¬ 
born St., Chicago, handle the rule in the 
United States. 


A $200 PRIZE FOR SOME ENTERPRIS¬ 
ING PRINTER 

A large printing establishment is about 
to move into a new building, and its man¬ 
agement desires to arrange the machinery 
and other equipment in the best possible 
manner with a view to economical opera¬ 
tion. A prize of $200 will be paid for the 
best plan submitted for the purpose. The 
increased cost of equipment necessitated by 
high-priced machinery and the added ex¬ 
pense of operation brought on by higher 
wages and shorter workdays make the mat¬ 
ter of the economical operation of a plant 
one of very great concern to employing 
printers. 1 his contest will therefore be of 
value not only to the firm which will make 
use of the best plan submitted, but to the 
trade at large. Full particulars giving the 
dimensions of the floor space, the list of 
machinery, etc., to be installed will be pub¬ 
lished in The American Printer for April. 
Its address is 25 City Hall Place, New York! 

















































PHOTO-ENGRAVING ART 


8 7 


FINDING PROPER SCREEN DISTANCE 

H. Calmels demonstrated in Lc Procede, 
of which he is editor, a new method of 
finding the proper screen distance. We 
show herewith the reversible stop which he 
uses for this purpose. On one end is the 
square stop which the operator intends to 
use, the other has four holes, the centers 
of which correspond exactly with the cor¬ 
ners of the square stop. After the operator 
has focused the image to the desired size, 
he inserts the screen as close to the ground 
glass as possible, then places in the slot of 
the lens the end of the stop containing the 



four holes. These show in four dots on 
the ground glass for each aperture on the 
screen. By racking the halftone screen 
away from the ground glass, each group of 
four dots of light gradually merge together, 
and when they form a single dot of light 
the proper screen distance for that partic¬ 
ular exposure is found. 


HOW TO MAKE A MEASURING GLASS 

Process workers often require an open 
glass measure for mixing up solutions, 
especially fish glue, etc., which, cannot very 
well be done in a bottle. Here is a hint to 
make one. Take a 60 oz. bottle (there are 
always plenty of these about the operator s 
room), and dry and warm it thoroughly. 
While it is still warm tie round it at the top 
of the straight part a piece of thick string 
about a yard long, and which has been well 
soaked in spirit. Stand the bottle (still 
warm) on something dry in a sink. Light 
the soaked string all around and allow it to 
burn about 25 or 30 seconds. Then pour 
over the whole of the bottle a large basin 
of water. Knock off the top part of the bot¬ 
tle (if not already off) and a beautiful clean- 
cut measure will be the result. Be careful 
to shut out all draught from the room. 


PROTECTION OF THE DESIGNER 

That the designer is lawfully entitled to 
the parental rights in nis brain children, 
and may collect cash from anyone caught 
kidnapping said children, has had new 
evidence in the latest instance of com¬ 
plaint in this direction. Fred S. Lang, a 


Los Angeles printer, being requested by 
Montgomery Brothers, local jewelers, to 
submit a design or idea for menu cards to 
be used at the banquet given in honor of 
the visiting war ships in that city, at the 
Hotel Alexandria, did so under agreement 
of prompt return if not accepted. The de¬ 
sign’s chief and essential element of orig¬ 
inality consisted of a flag as shown in the re¬ 
produced cut herewith; and the court’s find¬ 
ing was to the effect that defendant used 
the design, and must pay Mr. Lang the sum 
of seventy-five dollars and costs, about one 
hundred and seventy-five dollars in all. The 
suit was for one hundred dollars. 

The defense failed to substantiate its claim 
that it “did not get its idea from the Lang 
dummy.” This decision is of interest to all 
who handle drawings and designs and fur¬ 
thers the proper recognition of rights on 
the part of one who submits ideas, finished 
or in the rough. 

It is a source of satisfaction to everyone 
honestly working in the advertising field to 
witness the supremacy of right in matters 
of this kind, and the decision will be far- 
reaching in its indirect effect, as cumulative 
with others of like kind to just ends. 

When an artist submits his ideas he must 
perforce “show up” exactly how they are 
to be treated; and if the one examining 
same shall not feel disposed to grant the 
owner of such ideas his rights to their 
ownership, it is a simple matter to return 
them as “unavailable” and then proceed to 
practically duplicate the treatment, working 
out what might have cost a hundred dollars 
for a trifle of such cost. 

W 


r 



The disputed design submitted by Fred S. 
Lang of Los Angeles, to Montgomery Bros. 





















































































88 


PHOTO ENGRAVING ART 




fJitliltaljeb fflonthlg in ttje Snterpeta of makers anb Users 
of JUjoto-iEngraittttg 

FRED J. WILLOCK.EDITOR. 

THE HILLSIDE PRESS 

Publishers, 

Richmond Hill, New York. 

To insure the return of unavailable manuscript re¬ 
turn postage should be enclosed. 

Subscriptions—United States and Canada, $1.00 per 
year, single copies io cents. Foreign countries, 
$1.50 per year, single copies 15 cents. 

MARCH—APRIL 


PERSISTENCY 

Persistency built the pyramids, the 
Eiffel Tower, the Washington Monu¬ 
ment, the Singer Building, the Metro¬ 
politan Tower and many other monu¬ 
ments to the ingenuity and skill of the 
human race. 

Persistency built up the big business 
of the Standard Oil Company. 

No one questions the fact that stick¬ 
ing everlastingly at it is sure to achieve 
a result. The difference between suc¬ 
cess and failure is separated by a parti¬ 
tion thinner than tissue paper. The 
genius laboring hard and on the verge 
of despair will often turn to find success 
crowning his efforts. 

Don’t work at tangents. Don’t get 
your wires crossed. Map out your 
course. Make sure you are right; then 
stick to it. 

If you find you have made a mistake, 
switch—switch quickly. Don’t straddle. 
Have one purpose. 


If you are an employer, honesty is the 
best policy. Honesty with your custom¬ 
ers, your employees and yourself. 

The rocks of the pyramids have for 
ages withstood the ravages of time. To 
withstand competition and financial de¬ 
pression your reputation must be as 
solid as the rocks of which the pyramids 
are composed. 

Square dealing persistently meted 
out to your customers and employees 
will react to your benefit and will even¬ 
tually pay big dividends in the shape of 
increased volume of business and loyalty 
on the part of your workmen. This is 
not theory, but practice. 

Make every minimum on a single or¬ 
der as good as you would on a large 
order; and make one cut on a large 
order as good as another, and make 
every cut as good as you can. Try to 
make each month’s work show an im¬ 
provement on the previous month. 

Try to build up a reputation for hon¬ 
esty of purpose. Endeavor to keep your 
promises. The majority of employers 
who read this will say: “This doesn’t 
apply to me, but Bill Smith around the 
corner would profit by it.” Stop a min¬ 
ute and think. Have there not been 
many times when you have considered 
it good business to get a customer to 
accept a cut which should have gone 
straight to the scrap box, and then sud¬ 
denly discovered that his name no 
longer appeared on your books? 

If you have the slightest doubt about 
the printing quality of a cut, don’t let 
it get out of your shop. The only pur¬ 
pose for which a half-tone or line cut is 
made is to print from, and if it fails of 
that purpose you are pulling one of the 
foundation stones out of your repu¬ 
tation. 

Make up your mind that you are 












PHOTO-ENGRAVING ART 


89 


going to make the best cuts that money 
will buy. Don't fool yourself by think¬ 
ing that you are. Keep close to your 
customers’ needs and see that they get 
what they pay for. If they don’t want 
to pay enough, you don’t want their 
trade. That is, if you are in business to 
make money. 


ENGRAVERS AND THE TARIFF 

The tariff seems to be disturbing many 
dealers in and manufacturers of supplies for 
photo-engravers, and statistics are flying 
around which tend to show clearly that each 
faction is right and should have the undi¬ 
vided support of the engravers in their 
efforts to have the tariff either raised or 
lowered, or maintained as it is at present. 

* * * 

The National Carbon Co. of Cleveland 
has sent out a long letter on the tariff on 
“Carbons for Electric Lighting.” 

* * * 

Semon Bache & Co., of New York, im¬ 
porters of glass, are agitating the tariff 
question, as it relates to plate and sheet 
glass and are circularizing the photo-en¬ 
graving trade with a thirty-two page book¬ 
let on the subject. 

* * * 

The latest bulletin issued by Secretary 
F. H. Clark of the International Associa¬ 
tion of Photo-Engravers gives up a great 
deal of space to the tariff on lithographs and 
colored plate printing as applied to im¬ 
ported post cards, calendars, etc. 


MUTILATED MAXIMS 

Loaf and grow fat. 

Taste not want not. 

Let sleeping debts lie. 

Beggars can’t be boozers. 

“Still” whisky runs cheap. 

Lend me little lend me long. 

Fine feathers make fine beds. 

None but the bald repine for hair. 
Absence makes the heart to wander. 
Charity covers a multitude of skins. 
Discussion is the better part of valor. 
We never know who we can do till we 
try. 

Whoever’s worth doing is worth doing 
well. 

Never put off till to-morrow the man you 
can do to-day .—Profitable Advertising. 


WE WANT A 

LIVE 

WIDE-AWAKE ADVERTISING 

MAN 

TO REPRESENT US IN 

CHICAGO 
SAN FRANCISCO 
BOSTON 
PHILADELPHIA 

AND ANYWHERE ELSE 

5f In fact, if you consider yourself a 
bright energetic fellow, old or young, 
and you can give us all or part of your 
time, you may interest us, and we may 
put you in the way of making a little 
extra money or even a steady income. 
If Tell us about yourself and we will 
go into details. 

The Hillside Press 

PUBLISHERS 
RICHMOND HILL, N. Y. 



Under this heading we will print each month a 
number of artist’s cards. Rates on application. 


PAUL PHILIP GOOLD 

GENERAL ILLUSTRATING 

Specialist on Army and Navy Matters 

Tel. 1630 River. 2314 BROADWAY, N. Y. 


JOHN J. HOFF 

PHOTO-RETOUCHER ILLUSTRATOR 
DESIGNER 

Tel. 3120 Gram. 27 EAST 22d ST., N. Y. 


H. R. NORTHROP, designer 

320 BROADWAY, NEW YORK 


DECORATIVE DESIGN LETTERING 
RETOUCHING PHOTOS 

No Amateur work. Specialists in Each L ine 

Telephone 2041 Worth 
















9 o 


PHOTO-ENGRAVING ART 


SOME HINTS ON STRIPPING AND DRYING NEGATIVES 


The following are some answers as to the 
best way of drying an 18x16 glass of stripped 
films very quickly (drying-oven barred). 

First, use a very good stripper, viz., the 
collodion and rubber must be fairly thick. If 
it is at all inclined to be thin it will make 
the film, when stripped, cockle, and tiny bub¬ 
bles appear. These bubbles are full of water, 
and even when the negative seems dry when 
the metal ‘ plate comes in contact with it, it 
will probably stick, or even if the plate comes 
about all right it will not develop out. It 
is necessary that the solution be thick as 
mentioned, and when the negative is dry cut 
round. When it is soaked enough lay a 
piece of wet paper over it, and with a good 
solid rubber roller (this is one of the chief 
things), squeeze the paper on to the negative. 
Now carefully lift one of the corners with 
a knife, and the film will come away, with 
the paper perfectly smooth, much better than 
if done without the paper. Carefully lay the 
film and paper down on the glass, which 
should be quarter-inch plate, so that you 
can give it some good hard rubbing with¬ 
out fear of breaking. Roll it all ways very 
hard so that you get every particle of water 
from under the film. The plate will dry 
much quicker if it is rolled over with a piece 
of blotting paper. Now, what is wanted is 
a metal barrel about two feet in diameter, 
with a gas stove at the bottom (this is not 
an oven), lay two sticks across the top and 
place your negative on them, and when the 
gas is lighted the warmth is evenly distrib¬ 
uted all over the negative at the same time, 
using all the heat; none escapes until after it 
has performed its duty, and the negative will 
dry in a remarkably short time. There will 
be no chance of cracking your negative, as 
often happens when it is dried in one’s hands 
over a gas stove. This breakage so often re¬ 
sults because the heat is not evenly dis¬ 
tributed. 

^ 

In drying off an 18x16 negative, a few 
minutes should be allowed for the surface 
gum to drain off, and then the negative is 
dried, film down, over a gas ring burner. 
The knack of drying off negatives of the 
above size quickly without breaking the glass, 
is in keeping the negative moving, so that 
it gets heated evenly all over. It should not 
be allowed to get too hot, either; laying it 
aside for a few minutes till it cools down. 
If in drying off there is a tendency for the 
stripped film to curl up at the edge the col¬ 
lodion is not flexible enough, so a few drops 
of castor oil should be added to the strip¬ 
ping collodion. Strip the films on to a rub¬ 
ber substratumed glass, squeegeeing all su¬ 
perfluous water out by means of a squeegee 
and blotting paoer, the edge of each job be¬ 


ing fastened down with rubber solution or 
gum applied with a brush. This method has 
an advantage in that having all moisture 
blotted off, the drying should take less time, 
as the rubber substratum makes it very dif¬ 
ficult to move the film about. 

* * * 

A good method for drying stripped nega¬ 
tives without the use of heat and instan¬ 
taneously is as follows: First make the 
stripping collodion a little thicker than usual, 
so that the film can be handled by the fin¬ 
gers; then rub the 18x16 glass over with 
cotton wool soaked in naphtha oil. Strip 
the film dry, place on glass and rub over 
from centre with a dry piece of cotton wool 
until air bubbles disappear, when the film 
will be found in contact and perfectly dry. 

* * * 

The following method of drying stripped 
negatives is in general use on the continent, 
where stripping the films is more indulged 
in than in England. Having obtained the 
negative, place it on a level surface and pour 
on the film a thick solution of gelatine, 
enough to make a strong film; let it set and 
dry with spirit in the ordinary manner. When 


CARLO 

NEGATIVE 

COLLODION 

No mixing — ready for use — 
never varying—superior to any 
that can be made in the shops. 
Pri ce $2.00 per gallon, includ¬ 
ing containers. 

CARLO 

STRIPPING 

COLLODION 

Pri ce $1.25 per gallon, includ¬ 
ing containers. 

A free sample of each sent to any 
address on request. 

11. H. TTTTHTN 

Drugs and Chemicals 

191 BOWERY, NEW YORK 





PHOTO-ENGRAVING ART 


9 * 


ready cut through film down to the glass 
and strip. In color work it is always advis¬ 
able to allow ample time for the solvents 
of the rubber and collodion to evaporate 
spontaneously, and then drying the stripped 
films down on their support glasses without 
using artificial heat; even then it is not al¬ 
ways in register, making it imperatve to util¬ 
ize a prism or adopt some other means of 
reversing which will have an even contrac¬ 
tion. 

sfc ^ 

If the flowing and stripping of line films 
is conducted in the usual way, there should 
he no trouble whatever in getting the 
stripped “flat” to dry quickly. No artificial 
heat, such as obtained with a drying oven, 
should be needed, as if the films are treated 
in a proper way they dry spontaneously and 
in a reasonably short time. The reason for 
"‘Stripper’s” flats not drying satisfactorily 
may be that he is using too large a percent¬ 
age of castor oil in his stripping collodion. 
The following is a formula given in “The 
Halftone Process,” and is generally consid¬ 
ered to be a good one. I should recom¬ 
mend him to try this and then his trouble 
will probably disappear. Alcohol, 220 parts; 
ether 220 parts; gum cotton, 10 parts; castor 
oil, 7 parts. 

* * * 

The next best thing to a drying oven is a 
small electric fan which could be portable. 
The stripper can then lay his batch of 
stripped films on a shelf or put them on a 
bench and bring his fan so that it should 
send a nice brisk breeze across his plate; 
this will very soon dry it. If he cannot get 


TWO BOOKS 

for the 

ENGRAVER’S 

-^ARTIST 


LETTERS & LETTERING 

By Frank Chouteau Brown 
$ 2.00 


PEN DRAWING 

By C. D. Maginnis 
$ 1.00 

There isn’t anywhere enough space here to tell 
about these — the two best books on their respective 
subjects ever published. Get them and see for your¬ 
self. If you don’t want to keep them, get your 
money back. Thousands have been sold on these 
terms. For designing advertising “copy,” LET¬ 
TERS & LETTERING is worth $ 10.00 to any 
artist. 

BATES & GUILD C0. 9 PUBLISHERS 

46 CHAUNCY ST., BOSTON 


an electric fan the best way would be to have 
a shelf put in a convenient position so that 
the heat escaping from his stove should 
catch it and thus dry it .—Process Work. 


A FEW COMMENDATORY LETTERS 


January 28, 1909. 

Hillside Press Pub.: 

We enclose you herewith M. O. for $1.00 in pay¬ 
ment for one year’s subscription to Photo-Engrav¬ 
ing Art. The first two numbers which you sent us 
were very i iteresting, and we wish you success with 
your publication. 

The Youngstown Arc Engraving Co. 


Bolton, Eng., January 25, 1909. 
Hillside Press Pub.: 

We thank you for the specimen copy of Photo- 
Engraving Art, and have been most interested in its 
contents. Please enter us for two subscriptions, and 
if possible start with the first issue. 

Tillotson & Son, Ltd. 


Springfield, 111 ., Jan. 22, 1909. 
Hillside Press, Pub. 

Enclosed please find $1.00. Please send Photo¬ 
engraving Art for one year to the address below. 
What little I have seen of your magazine I think it 
contains the plainest, more-to-the-point information 
than any other magazine I have been able to get 
hold of. Do you intend answering questions re¬ 
garding engravers, etc., such as the Inland Printer 
does? As a rule you get some of the most evasive 


answers to inquiries for information. Most maga¬ 
zines in our line that you write to, asking for in¬ 
formation regarding some trouble, you will get an 
answer similar to the following: “We understand 
that some firms have had a certain amount of suc¬ 
cess by doing the following”; and others of that 
nature I could mention, and if you come out with 
plain, easily understood facts, I am sure it will add 
greatl y to our success. 

News Engraving Co., 

F. G. McDermid, Mgr. 


December 11, 1908. 

Illlside Press Pub.: 

You will find enclosed check for $1.00 for sub¬ 
scription to Photo-Engraving Art, commencing 
with the January number. We believe there is a 
field tor your magazine, and will be pleased if we 
can be of any assistance. 

Baltimore-Maryland Engraving Co. 

February 3, 1909. 

Hillside Press Pub.: 

Enclosed you will find $1.00 P. O. M. O. for sub¬ 
scription to Photo-Engraving Art. It is an excel¬ 
lent book and should readily meet with recognition. 

W. H. Birmingham, 

P. E. U. No. 22. 
















9 - 


PHOTO-ENGRAVING ART 


MISCELLANEOUS BITS 

The J. Sander Engraving Co., of Chicago, 
Ill., has been incorporated with a capital of 
$6,000 for engraving, wood cutting, litho¬ 
graphing and other artistic work. 

* * * 

Mr. and Mrs. Lewis Horace Bissell, of 
Effingham, Ill., announce the marriage of 
their daughter Ruby Harriet to Mr. Joseph 
F. Magee on Wednesday, March io, 1909. 

* * * 

Mr. Frank H. White, Eastern Representa¬ 
tive of Ostrander-Seymour Co., Chicago, 
sold a complete photo-engraving plant to 
the Commercial Engraving Co. of Allen¬ 
town, Pa. 

^ ^ 

We learn on fairly good authority that 
The Walker Engraving Co., New York, has 
purchased the Central Bureau of Engraving, 
of the same city. It is also rumored that 
Gill is negotiating for control of the Elec¬ 
tro-Light Engraving Co. 

* * * 

The next convention of the International 
Association of Photo-Engravers will be 
held July 6, 7 and 8 in the Catskill Moun¬ 
tains, either at the Catskill Mountain House 
or the Hotel Kaaterskill. The exact place 
has not as yet been determined. 

* * * 

The Thorp Engraving Co. gave up the 
ghost after a brave fight against overwhelm¬ 
ing odds in New York City. New York al¬ 
ready had over fifty engraving shops when 
Thorp started, and not a few of them have 
been “digging” to make both ends meet. 

* * 5k 

“One-eighth inch Negative Glass,” L. 
Solomon claims, is saving some engravers 
fully 100 per cent, on their glass bills. This 
is not a window glass, but an imported glass 
very well adapted to engravers’ uses. 
Twenty years in business has enabled Sol¬ 
omon to become well acquainted with the 
requirements of engravers. 

5k * sk 

With L. H. Bissell, of Effingham, Ill., 
nominated to the Mayorality, Lon Sanders, 
of St. Louis, Mo., who can have the nom¬ 
ination for Mayor if he wants it, and A. J. 
Powers, president of the Powers Photo-En¬ 
graving Co. of New York, appointed by 
Mr. Jerome to an Assistant District Attor¬ 
neyship, the engravers of the country are 
showing an activity in politics which is com¬ 
mendable. 

5 k * 5k 

Capt. F. V. Blythe, Fort Worth, Tex., 
ordered a complete photo-engraving plant 
from the Ostrander-Seymour Co., Chicago, 
comprising an extra heavy proof press, 
straight line routing machine, beveling 
machine with lining attachment, saw, trim¬ 
mer, Daniel's, planer, jig-saw and drill, etc., 
all fitted with individual motors. This 


with the photographic equpment ordered 
gives Capt. Blythe one of the very best plants 
in Texas. 

5k 5k 5k 

The Williams-Lloyd Machinery Company, 
of Chicago, has added a complete experi¬ 
mental laboratory and testing department to 
its already fine equipment. The new de¬ 
partment is located at Harrison and Clinton 
Streets and is under the direction of Henry 
B. Colby, who is a well-known expert on 
photo-engraving. Mr. Colby invites photo¬ 
engravers to submit their problems to him 
and his technical knowledge is sure to be 
of inestimable value to them. 

5 k 5k >k 

“How to Print Our Multicolor Plates” 
is a neat little booklet issued by Gatchel & 
Manning, Philadelphia. It shows in a com¬ 
prehensive manner the way to print a set of 
their four-color plates. First the yellow is 
printed; then the red is shown just below. 
Next the yellow and red are shown printed 
one over the other, and following is a proof 
of the blue plate, and after it is shown the 
yellow, red and blue plates all printed to¬ 
gether. This is followed by a proof of the 
black or key plate and, finally, the complete 
result is shown and it is a color effect which 
should satisfv the most fastidious. 


WINSOR & NEWTON’S 

"Uprk Palpltp” 

(Francis A. Deck, New York City) 

For RETOUCHING and SPOTTING for 
Reproduction 

FIVE TINTS IN LARGE TUBES 



Goods bearing this trade-mark have received universal 
commendation for the past seventy-six years 

ALBATA Red Sable Brushes 
BRITISH ” finest ever made 

BLANC D’ARGENT 

For Process Reproduction 
IN LARGE BOTTLES 

WINSOR & NEWTON, Ltd. 

OF LONDON 

298 BROADWAY, NEW YORK CITY 

Our goods are sold by all art dealers 





PHOTO-ENGRAVING ART 


93 


METZOGRAPH SAMPLES 

We present herewith two line samples of 
metzograph grain screen silhouettes made by 
the Eclipse Electrotyping and Engraving Co., 
of Cleveland. The Williams-Lloyd Ma¬ 
chinery Co., of Chicago, used them as sam¬ 
ples to advertise metzograph screens. We 
feel that the book plate is excellent and only 
criticism of the figure is; that if it is in¬ 
tended for a clothing advertisement it has 
almost too much of the quality of a high- 
class magazine illustration. This leads us to 
ask if there is any logical reason why we do 
not see more of the metzograph screen in the 
popular publications. 




ESTIMATING VS. GUESSING 

(Continued from page 77) 


went about it that you would get the 
job.” 

“I still expect to get it,” quietly an¬ 
swered the salesman. 

“I do not see how at the price you 
quote. Why, did you see that young 
fellow who just left here? Well, he 
represents the Photo-Etching Co. and 
he quoted a price almost twenty-five 
per cent, lower than yours.” 

“He did, eh? Well, you couldn’t 
risk giving it to him at that price, could 
you?” 

“I don’t see why not. His is a re¬ 
liable concern, is it not?” 

“Yes, as they go.” 


“Then where is your argument?” 

“My argument is this, Mr. Taylor. 
If you will give me a little of your 
time I would like to go over this whole 
matter in detail, and before I’m 
through I will have convinced you that 
if we make your cuts at the price I 
quoted you they will be cheaper in the 
end than the price quoted by the repre¬ 
sentative of the Photo-Etching Co. 

“First, we have the equipment: more 
cameras, routers, bevellers, presses, 
etc., than any two houses in this or any 
other town. Next we have more men, 
three shifts for each department. Mul¬ 
tiplying our equipment by three gives us 






PHOTO-ENGRAVING ART 


94 

at least six times the capacity of any 
one plant in this town, as none works a 
full second shift. Occasionally, one or 
two of them may work a little over¬ 
time, but we maintain three shifts every 
day in the year. 

“Further, we hold the record for fast 
work. Still further, we do work for 
the best houses in town. No job is too 
large nor too small, none too high 
grade. Our quality is unsurpassable, 
our deliveries the marvel of the trade. 
We have our plant so systematically 
organized that each individual cut re¬ 
ceives the same attention, whether a 
small single cut or part of a large or¬ 
der. Each is sure to be a perfect print¬ 
ing plate. The fact that a plate is made 
by us is proof positive that it is quality 
par excellence. 

“Now the price I quoted you is the 
result of considerable figuring. Using 
as a basis the statistics which we have 
at our command and taking into con¬ 
sideration the fact that we are large 
buyers of supplies at all times, and 
therefore get the best prices on our 
materials, we must be in a position to 
figure, not GUESS, as close as anyone 
in the trade. 

“If the Photo-Etching Co. have es¬ 
timated twenty-five per cent, lower than 
we, and you think they will give you 
the quality you want, I will tell you in 
advance, that either you will be sadly 
disappointed or they will lose fifteen per 
cent, on the job, possibly more, inas¬ 
much as they have neither the equip¬ 
ment nor the ability to buy material as 
cheaply as we. Frankly, the grade of 
work you showed me as a sample is 
easily worth twenty-five per cent, more 
than I quoted, and on a smaller lot 
and under different conditions I would 
not be justified in quoting you less. I 


am not figuring this job as a filler, but 
as a money-maker, and can assure you 
a high grade half-tone cut of uniform 
quality throughout the entire job. At 
twenty-five per cent., or even a fraction 
less than my figures, it would be impos¬ 
sible to guarantee anything. Both you 
and I would be gambling on the result. 

“I take it from my talk with you that 
you do not want to take a chance either 
on quality or deliveries—that condi¬ 
tions are such that you must be guar¬ 
anteed both.” 

“You are right,” broke in Mr. Tay¬ 
lor. “The first volume, which will con¬ 
tain about twenty-one hundred pic¬ 
tures, must be in the hands of the print¬ 
ers in about four weeks. This means 
an average of five hundred and twenty- 
five cuts a week. Can you deliver that 
amount?” 

“Yes, sir. My estimate reads any 
amount up to one thousand cuts a 
week.” 

“All right, come around at three- 
thirty this afternoon and we will have a 
contract ready for you. I am thor¬ 
oughly convinced from your argument 
and my investigation that your concern 
is the only one entitled to the job. I 
feel from the way you talk that you 
know, while all the other fellows im¬ 
pressed me as guessing, and we can’t 
take a chance.” 

* * * 

We’d never build aircastles if we had to 
pay taxes on them. 

* * * 

“Isn’t he lucky?” is usually exclaimed of 
the successful man, while what is meant is, 
“Wasn't he a hard worker?” 

HELP WANTED 

WANTED— By a San Francisco Engraving 
Co., Ai Halftone Photographer; one who 
understands color work. Must be strictly 
first-class operator. Permanent position; 
good wages. Address Photo-Engraving 
Art, Richmond Hill, N. Y. 




tJThis cut represents the Standard Interchange¬ 
able Air-Brush for the photo-engraver,fitted with 
lightning interchangeable glass jars or metal 
side cups all in one brush. Illustration 
shows the exact size of the instru¬ 
ment. It weighs only 


ounces. 


All the main 
parts are on the 
outside of the shell, 
adjustable for high or low 
pressure. With one movement of 
the index finger and with a sweep 
of the hand it will go from a hair 
line to a broad spray. Any kind 
of colors may be used. A** 


“ Construction Simplicity ” 

For further information and prices address the Patentee and Manufacturer 

O. C. WOLD W chicago N ST ‘ 

In answering please mention “ The Photo-Engraving Art ” 


<©ualttj> tn tfje JJegattoe 

The making of the photographic negative is 
not only the first but the most important 
step in the mechanical processes involved in 
photo-engraving. A chain is no stronger than 
its weakest link, and by the same reasoning you 
can’t get the quality in your finished product 
unless you have it at the start. That means 
your lens must be right. With a 

#oet? “^Process Bagor” 

you are insured of the necessary quality in the 
negative. It is specially designed to meet the demand which improved methods 
in half-tone and process work have created. It is completely corrected ; or stigma- 
tism, is free from coma, axial and marginal spherical aberration. It is faster than 
ordinary process lenses, working at F. 7 . 7 . The field of view covered sharply 
at full opening is 60 degrees. The lens is used by leading process workers 
throughout the country, and its every-day work is its best recommendation. 

Especially suitable for three-color work. 

Address dept. K for booklet describing the lens, also our liquid filters and mounted reversing 
prism for process workers. We would also be glad to send samples of work done with this lens. 

GL ($imz Auuniratt (Dptiral GUl, 73 £. I3lltlr BU fork 



Please say “Saw your adv. in Photo-Engraving Art.” 

















1909 

The Graphic Arts and 
Grafts Year Book 

VOLUME III 

The American Annual Review of the Engraving 
Printing and Allied Industries 


If The third volume of this Annual Review excels in every department. The 
technical treatises are practical and of vital importance to engravers and 
printers who are progressive or wish to keep informed of the advances made 
in the various processes during the year. 


OF PRIME IMPORTANCE TO PHOTO-ENGRAVERS 


If In this edition we publish a description, with examples of Arthur Payne’s 
“New Direct Process,” written and illustrated by the inventor, Mr. Arthur 
Payne, a method which will eventually revolutionize the process of Photo- 
Engraving. ( See contents .) 

If This publication is a monument to the ability of the American Engravers 
and Printers. 

ff It is the work of the American Trade, and not the product of a single firm, 
yet all harmonized so as to make a perfect book. 

ff There will be upwards of 200 illustrations, reproduced by over sixteen 
distinct processes. 

ff These illustrations are magnificent examples of color and black and white, 
ff These beautiful specimens have been produced by more than 30 of the best 
Engravers, Printers, Lithographers and Photogravure firms in the United 
States. 


400 Pages, 8x10 Price $5.00, Express Prepaid 

Sent immediately upon receipt of request 


SEND ORDERS TO 

The Graphic Arts and Crafts 

HAMILTON, OHIO 


Please say “Saw your adv. in Photo-Engraving Art.” 























THE KIND OF PICTURES 
THAT SELL YOUR GOODS 


Photographs 
that need the 
Minimum of 
Retouching 
& 

Fast Service 

High Quality 

Right Price 

Indoor and 
Outdoor Work 



•PHOTOGRAPHER- 

8 2 WE5T BROADWAY 
'NEW YORK* 


A Large 
GALLERY 

ji 

Expert 

Operators 

j* 

Enlargements 

or 

Reproductions 

& 

Silver Prints 
£ 

Telephone 
17SI Cortlandt 


jSeto l^otrfe Cngrafcer’si g>upplp 

H. D. FARQUHAR, Propr. 


«l 


Manufacturers and Dealers in everything 
pertaining to Photo Engraving and the 
Photo Mechanical Processes are now lo¬ 
cated in their new quarters at.. . 


103-105 MOTT STREET 

NEAR CANAL 




Where our Offices, Show Room and 
Factory are under one roof. Stop in and 
look us over. 

































Make a scratchy noise — you know; just 
like you were writing a check for $1.00. 
Send the result of your effort to us and we 
will see that you get your money’s worth 
in twelve instalments of good things in 

fllfoto-iEngraatttg Art 

THE HILLSIDE PRESS, Publishers 
Richmond Hill .... New York 


Date 

The HILLSIDE PRESS, Publishers 

RICHMOND HILL, N. Y. 

Enclosed herewith is one dollar. Please send 
ptfatO-IEttgrautUg Art to the address below for one year, com¬ 
mencing with the.. .number. 


Name in full 

Address in full 

No .. 







































































































Actual Size of the Business Man’s Calculator 

is 11x14 Inches 



Photograph in Setting, 2 to 1. 


One instant’s setting of inner and outer disks 
gives you all possible proportional combinations 
of figures as quickly as the eye can read, just 
like this: 

What are the possible reductions and enlargements of 
the cut size 11x4% inches? 

Outer disk || Set 11 | Under 5, 6%, 13%, etc. _ 

Inner disk || To 4.5 | Find 2%4, 2 2 %2, 5 7 /ie, etc. Answers. 

What would be the rate for various portions of the 
week of the salary $22.50 (54 hours a week) ? 

Outer disk || Set 22.50 | Find 3.75, 5.21, 11.35, etc. Answers. 

Inner dis || To 54 | Above 9%, 12Ms, 27%, etc. 

What is the price of cuts of all possible sizes, price 
per inch being 14% cents? 

Outer disk || Set 145 | Find 1.38, 3.92, 21.08, etc. Answers. 

Inner disk || To 10 ( Above 9 V 2 , 27, 145%, etc. 

P. S.—Number of square inches is figured by this device automatically in an instant. 


Mail ONE DOLLAR to THE BUSINESS MAN’S 
BULLETIN, 140 Nassau Street, New York, and get 
this Calculator FREE together with year’s subscription 
to the Business Man’s Bulletin 

Sample Copy of the Bulletin Mailed Free 






























CONTENTS 

Frontispiece, A DUOTONE 

By Powers Photo-Engraving Co . ioo 

COLOR AS APPLIED TO PRINTING 

By H. G. Maratta. ioi 

THE PAYNETYPE “DIRECT” METHOD 

By The Editor. 104 

“PEN DRAWING” 

By C. D. Maginnis . 108 

GRAIN COLOR PLATES 

By J. S. Sunderland . no 

THE “MUSKETEER” 

By Meissonier. hi 

EDITORIAL—ENERGY . 114 

I. A. P. E. HAS DUTY INCREASED ON “VIEW CARDS” 

By H. C. C. Styles . 116 

“PERSPECTIVE” 

By Dora Miriam Norton . 117 


Copyright, 1909 , by The Hillside Press, Publishers 


is the most essential part 
required to make a 
good negative 


JELLITAC 

CERKEN BUILDING 

90 WEST BROADWAY NEW YORK 



'"MIX YOUR OWN PASTE” 




We can give you both 




(fjhtalttu atth iCmu Prut's 




We will be pleased to 
have your specifications 

f 6 and / inch Plate Glass 
Crystal Plate Glass 
/ inch Negative Glass 



^JBs 

-Established loo? 

L. SOLOMON 




Importer and Dealer 

215 Bowery New York 



'MIX IT AS YOU NEED IT” 


Cut this advertisement out and enclose it with 
name for large FREE SAMPLE 


Please say “Saw your adv. in Photo-Engraving Art.” 



































98 


PHOTO-ENGRAVING ART 


TWO BOOKS 

for the 

ENGRAVER’S 
ARTIST s- 


LETTERS & LETTERING 

By Frank Chouteau Brown 
$ 2.00 


PEN DRAWING 

By C. D. Maginnis 
$ 1.00 


There isn’t anywhere enough space here to tell 
about these — the two best books on their respective 
subjects ever published. Get them and see for your¬ 
self. If you don’t want to keep them, get your 
money back. Thousands have been sold on these 
terms. For designing advertising “copy,” LET¬ 
TERS & LETTERING is worth $10.00 to any 
artist. 

BATES & GUILD CO., PUBLISHERS 

46 CHAUNCY ST., BOSTON 


D. J. BUNCE 

482 GRANT ST. 
BUFFALO, N. Y. 

Ma nufacturer of all frinftg of 

Masking 

flbapeis 


SEND FOR SAMPLE 
SHEETS AND PRICES 

WE CAN SAVE 

YOU MONEY 


PRINTING 

PLANT 

FOR 

SALE! 


Fine 

Opportunity 

For 

The 

Right 

Party 


Please say “Saw your adv. in Photo-Engraving 


340,000 

will buy a complete 
printing plant in a 
flourishing city of 

150,000 inhabitants 
in New Jersey. 

The equipment is 
as follows: 

6 Cylinder Presses. 
4 Jobbers. 

2 Paper Cutters. 

2 Monotypes. 
Binding Plant. 
Complete Poster 
Plant. 

$10,000 worth of 
type and mate¬ 
rial all in A-1 
condition. 

Good will and a 
growing business. 

Much N. Y. City 
trade and big con¬ 
tracts now in hand. 

Excellent reasons 
for selling and, if in¬ 
terested, will furnish 
further details on ap¬ 
plication. 

K. & W. 

Box 6 

PHOTO-ENGRAVING ART 

RICHMOND HILL, N. Y. 

Art.” 


























































































































































• - 




























































































































































































































































































































































































A DUOTONE 


Using two complimentary colors from Maratta’s Chromatoscope Chart. Ruxton’s Margo Inks 
Red-Purple No. 810 Yellow-Green No. 870 


by Powers Photo-Engraving CoNew York 


Paper—Dill Collins Co.'s Black and White ( 









Two CoDies Received 


JUN 29 1809 



Publial)^ DHaittl?ly in tljr Jlntwfits of iHakrra aub Itara of JUjotn-iEttgramiici 


VOL. L, No. 7-8. MAY-JUNE, 1909 


COLOR AS APPLIED TO PRINTING 


A Short Summary of the Relationship of the Artist and Engraver to the Printer 

First of a Series of Articles on This Subject Written Specially for Photo-Engraving Art 

By H. G. MARATTA 


npHE man who is called upon to match 
with printing inks the artist-design¬ 
er’s sketches made with oil, water color or 
other mediums has a hard task indeed and 
my sympathy. He is asked to match exactly 
with printing inks (an entirely different 
medium than that which the artist-designer 
uses for his sketches) a color, hue or tint 
from sketches or designs made with oil. 
water or other mediums, which very likely 
the artist himself could not match with pig¬ 
ments the same as he used on the original, 
at least without losing much time and much 
effort. If he approached anywhere near the 
original he would say: “That’s near enough; 
I’ll let it go at that.” This is one of the 
reasons an artist dislikes copying his own 
pictures; it calls for too much time and 
patience. My observation has been that 
the more one knows about color the easier 
they are to satisfy. This will be explained 
later. The artist takes a little of this, a 
little of that pigment, mixes them up and 
tries them, changes by adding something 
else, and so on, until he gets that which he 
thinks good. He has an eye for color which 
guides him. This so-called “eye for color” 
is really an educated eye; one that has been 
trained by long experience and observation 
of nature. It is an accumulation of knowl¬ 
edge to be gained only by experience. 

A proof is made on high grade paper, 
with high grade inks (whereas perhaps the 
job must be run on a cylinder press, on 


poor paper, with cheap or inexpensive inks; 
of course, the engraver gets out his proof 
to look as good as possible to the customer, 
very often not considering the printer or 
how the printer’s job is produced. He has 
had his own troubles. To match the artist’s 
colors, the artist cannot, will not and does 
not tell him how he mixed the colors, nor 
does he give him a formula for any color, 
hue or tint used on the original. And why? 
Because he doesn’t know how he mixed 
them himself. He takes some pleasure in 
saying, “He just mixed them, and that’s all 
there is to it,” and the engraver is expected 
to do the same. Some one must pay for 
the time lost during all this mixing, and 
still there is more mixing to be done. It 
is up to the pressman now. He is expected 
to match the inks used by the engraver on 
his proofs. The engraver now takes the 
same stand toward the pressman that the 
artist took toward him. He does not al¬ 
ways tell the pressman how he mixed his 
inks, because, well, “he just mixed them,” 
and he expects the pressman to do the 
same. Of course, the printer can only 
make “hay” when the wheels turn, and I 
have known presses to stand idle from half 
an hour to half a week waiting for an ink 
to be matched. 

I heard of a pressman who tried to mix 
a match for a quarter of a pound of ink, 
and before he was aware of it he was run¬ 
ning around a large slab with a knife, trying 





















102 


PHOTO-ENGRAVING ART 


to keep 50 pounds of ink from running on 
the floor. And still I know of other press¬ 
men who are good mixers in many respects, 
but that is another story. The cause of all 
this delay and all this mixing lies with the 
artist in a great measure. 

The doctor or chemist writes a prescrip¬ 
tion or formula that anyone may have filled 
correctly and intelligently by any druggist. 
The musician composes music and writes 
the symbols or formulae on paper that any 
other musician may understand and play, 
but the artist feels that he is a genius and 
is not expected to do things according to 
any laws or formulae, as that would destroy 
his individuality. It would make a mere 
machine of him. He thinks artists are 
born, not made. Well, they are not. Who 
ever heard of a child wonder among artists 
as we do of musicians? In music we have 
the scientific instrument and fundamental 
law based on mathematics, which the child 
may be taught and acquire at an early age. 
Go into the art gallery, stand in the middle 
of the room, dnd look around. You can 
point out the Carots, Daubignys, etc., and 
when these men were asked how they did it 
they replied “they mixed their colors with 
brains”; yet they must have formulae, 
otherwise their pictures would not look so 
much alike, and they kept their formulae 
under their hats. 

The musician plays with sentiment and 
feeling. He plays upon an instrument that 
is scientifically adjusted, and because the 
instrument is scientifically adjusted and re¬ 
sembles others in construction is no reason 
why all musicians should play alike. Nor 
should all artists using the same palette 
paint alike. Hand the man a violin and tell 
him it is a great musical instrument. He 
will say, “I can’t use it.” This does not 
mean that the fault lies with the instru¬ 
ment. The tom-tom will be easier to play 
and more pleasing to him. 

How does the artist work? He goes to 
the dealer and selects pigments that are 
prepared without regard to nature (the 
spectrum) or to each other, practically a 
tom-tom. If he has brains, he can mix or 
set his palette. The chemist working in his 
laboratory finds a mixture that makes a 
good pigment. It is placed upon the 
market; the artist buys. It may have no 


more relation to the other colors on his 
palette than the note of a whistle would 
have to a violin. It may have great bril¬ 
liancy and be beautiful by itself, but still not 
harmonize with any other known color for 
the reason of its being out of the scale; to 
use it intelligently it must be tuned by the 
artist. 

The Maratta Law of Color is properly 
comparable with a scientifically adjusted 
instrument. The instrument is not music. 
It is only a scientific medium through 
which music may be produced. The Margo 
colors form an instrument in the hands of 
the artist, proofer and pressman whereby 
he can produce color harmony, intelligently, 
unerringly and quickly. 

These pigments are the best for the pur¬ 
pose that can be made, and are very per¬ 
manent. More brilliant pigments there are, 
such as the anilines, etc., some of which will 
not stand sunlight for a day. But only 
normal colors are used with the Margo 
Law; as color is relative, great brilliancy 
may be obtained by contrast. 

Pigments are transparent or opaque. The 
difference between an opaque and a trans¬ 
parent ink lies in the source of the light. 
With transparent ink the light passes 
through the ink to the surface of the paper, 
which reflects it back through the ink to 
the eye. Thus, we see the color of the ink. 
For example; Place a piece of red glass 
over a small box t the inside of which has 
been painted white. The light passes 
through the glass to the inside of the box, 
where it is reflected back through the glass 
to the eye, and we see the color of the 
glass. 

Now paint the inside of the box black, 
the light passing through the black is ab¬ 
sorbed by the black and we cannot see the 
color of the glass. In this example the 
glass illustrates how inks will be affected 
by highly glazed or rough uneven surfaces, 
such as blotting paper, or printing inks on 
dark stock. Soft papers always print 
much darker, as they absorb the inks, and 
owing to the rough uneven surfaces diverge 
or scatter the rays in all directions, while 
the glazed or smooth paper reflects in 
parallel rays, like a mirror. This is easily 
illustrated by putting a drop of writing 
fluid on a blotter. It sinks in at once and 


PHOTO-ENGRAVING ART 


103 


appears dark. A drop on a glazed paper 
may be spread over a large area and show 
a tint. 1 wo pressmen at the same press, 
same ink, same stock, will obtain very 
different results owing to the amount of ink 
carried. 

Opaque inks reflect from the surface of 
the pigments, or ink itself. The more 
opaque the pigment or ink, the less the 
stock will affect it. Smoke rising against 
a dark building will appear cool and opaque. 


When it passes against the sky it appears 
warm and transparent. Cover inks on dark 
or light stock act in a similar manner. 

The above also applies to wash drawings 
made with water colors, which are trans¬ 
parent, and opaque when mixed with white 
pigments, to produce the tints instead of 
depending upon the paper for transpar¬ 
ency. 

The next article will describe the solar 
spectrum in relation to colored pigments. 


HALF-TONES FOR OFFSET PRESSES 


The “Direct” Half-Tone Engraving is Easier to Make, Saves Transfer and Works Better 


OUCH fine work is being done from half- 
^ tones on the offset press that some 
photo-engravers are beginning to make plates 
especially for that process. 

The half-tone made for the offset press 
is an entirely different affair from the same 
kind of a plate made for the type press. In 
the first place it is made “direct,” and there¬ 
fore does not have to be reversed in trans¬ 
ferring. 

The photo-engraver, in making a half-tone 
plate for the type printer, reverses it in the 
process of preparation by stripping the film 
from the plate of the comard and turning it 
over and laying it back on the plate with the 
face down. Thus the lettering on the object 
reproduced comes out on the metal plate re¬ 
versed, and when it comes on the printed 
sheet it appears, of course, properly. 

In making a plate for an offset press this 
reversing process is omitted by the photo¬ 
engraver, as he wants the plate to come out 
“direct.” The reversing is done naturally 
when the transferer puts down his transfer on 
the zinc plate. Thus the photo-engraver is 
not only enabled to make a plate for an off¬ 
set press with less actual labor, but he also 
obviates the possibility of spoiling a negative 
in the process of stripping off the film and 
reversing it. 

There is another feature, however, of this 
“direct” half-tone that will appeal strongly to 
the printer. The “direct” plate is bound to 
be sharper, cleaner and better than the one 
that has been stripped and reversed. Any 
photo-engraver will tell you that when he 


has the making of a sketch from which half¬ 
tones are to be made, and wants a particu¬ 
larly sharp, clear plate, he has the sketch 
drawn “direct” and therefore does not have 
to strip the negative. 

The ordinary half-tone when printed on an 
offset press is reversed twice before it ap¬ 
pears on the printed page. The first time 
by the photo-engraver and then by the trans¬ 
ferer. Both of these transactions can be 
saved by ordering the engraving made “di¬ 
rect.” This is easier for the photo-engraver 
and, even to a greater extent, easier for the 
transferer. And, further than that, the work 
done from it is infinitely superior .—The Na¬ 
tional Lithographer. 


TO BLEACH COLORED PAPER 

Line jobs on colored paper are a nuisance 
and often impossible to photograph, but this 
can be overcome by steeping the colored 
paper, say, brown paper, in a solution of 
chloride of lime. This bleaches the paper 
white. Give the paper a good wash to take 
away all traces of lime. If the job is in a 
hurry it can be placed on a piece of mount¬ 
ing board while wet and photographed in 
this manner, but it would be better to take 
away all superfluous water with blotting 
paper first. 


No man can rightfully rate himself suc¬ 
cessful who has purchased his success at the 
cost of his conscience. 






104 


PHOTO-ENGRAVING ART 



MR. ARTHUR PAYNE. 

Inventor and patentee of the new “ Direct Process.” 
Photographed direct on metal plate from ordinary portrait negative. 
(From the Graphic Arts and Crafts Year Book, 1909.) 


THE PAYNETYPE “DIRECT” METHOD 


By THE EDITOR 


r PHE “Direct Process” of Photo-Engraving 
has received much attention and had 
considerable space devoted to it in both the 
Graphic Arts and Crafts Year Book, and the 
Penrose Pictorial Annual. Trade papers first 
expressed interest and then dismissed the 
matter with scant consideration. However, 
as it opens up probably the greatest possibili¬ 
ties in the development of process engraving 
in recent years, we do not condemn it as 
impossible, but rather see some practical ob¬ 


jections which to us seem “practically” impos¬ 
sible to overcome. 

The editor is in a position to appreciate the 
value of a perfected direct process of engrav¬ 
ing to the newspapers and others who de¬ 
mand speed in the production of printing 
plates. After having read all the matter 
published to date regarding the Paynetype 
method he has come to the conclusion that 
unless in practice the process overcomes the 
following practical objections we will con- 







PHOTO-ENGRAVING ART 105 


tinue for a considerable time to make plates 
by the “indirect and imperfect but practical 
method" now in universal use. 

For argument we will imagine that the 
press photographer is sent to cover a story 
of an automobile smash-up. He reaches the 
scene with his camera loaded with a screen 
and zinc “Direct Plates.” Photographers 
from other papers are also on the scene with 
their i-iooo-of-a-second-cameras. They take 
a half dozen quick “snaps,” while the “direct 
process” operator is adjusting his tripod. 
(This is absolutely necessary because he must 
make a time exposure of from five to twenty 
minutes.) If there is much of a crowd 
present he will have to be quite a diplomat in 
order to keep restless, rubber-necking human¬ 
ity quiet and away from the front of his lens 
while making his time exposure. If the ac¬ 
cident occurred in a sunny spot on the right 
side of the road (with the sun at the back of 
the camera) the operator may get a good re¬ 


sult, but to be sure will, perhaps, deem it ad¬ 
visable to make two exposures. 

As soon as he finishes his second exposure 
he rushes back to the office and develops his 
plates, only to find that one would have been 
a “dandy,” only it is a trifle over-exposed. 
The other is a bit fogged and therefore can¬ 
not be used. 

Now let us suppose the same thing hap¬ 
pens to one of the other operators. He gets 
a “near dandy,” being a bit over-exposed. 
He discovers this while developing, and can 
overcome a great deal of the difficulty by re¬ 
ducing. If he had time he could overcome 
it all, but time being a factor he must, per¬ 
force, slight it. He washes off the “tear¬ 
drops” ; throws up a velox enlargement, 
jumps it into the art department, where the 
retoucher splashes in some contrast, putting 
in a light sky and here and there some con¬ 
trasty blacks. The copy then goes to the 
gallery to be “rephotographed” on a prism 


Kush Newspaper Halftone, Made in Twenty-five Minutes for the New York Evening Sun, by Powers Photo. 

Engraving Co., N. Y. 















io6 


PHOTO-ENGRAVING ART 


camera, etched, bevelled, and blocked in 
twenty minutes from the time it leaves the 
artist’s hands. 

We will imagine another condition. Our 
“direct process” man gets his time right, but 
not being able to get near enough to the ob¬ 
ject finds, when it is developed, that his plate 
is worthless. The foreground is well de¬ 
fined but the object of the story is so small 
and cut up by the coarse screen that it 
is useless for the purpose of illustration. 

Again, we will imagine the same thing 
happens to the other fellow. Everything is 
lovely except the object is too small for prac¬ 
tical use. The negative is crisp and clear, a 
Goerz Dagor having been used, and even on 
the object, small though it is, the detail is per¬ 
fect. A four or five-time velox enlargement 
saves the day. This, of course, is impossible 
where the direct process is used, because 
there is nothing to enlarge but dots, and as 
the white space between the dots is enlarged 
in the same ratio, the result would simply 
be an extremely coarse screen. If the plate 
were enlarged four times lineal, the resultant 
would be approximately sixteen lines to the 
inch. 

Certain papers use a method of casting 
half-tones into the stereotypes and printing 
from the original plates. This method was 
invented by S. H. Horgan. Sometimes as 
many as eight sets of plates are necessary 
where this method is in vogue, and of course 
there would be absolutely no opportunity to 
use the “direct method” for strictly news as¬ 
signment work (and there is surely no ex¬ 
cuse nor advantage in using it for anything 
else), because to make eight good plates it 
would always be necessary to expose for at 
least ten, allowing 25 per cent, for defective 
exposures or slip-ups. Twenty-five per cent, 
is a low percentage of spoilage, as the per¬ 
centage is often as great when working in 
a gallery under the best of conditions. The 
silver bath is likely to go wrong, or the de¬ 
veloper is likely to deteriorate, or the nega¬ 
tives to get slugged while turning, or the print 
on metal wash off because of any one of 
several different reasons which are appre¬ 
ciated by all practical men, and practical men 
are the ones most likely to be interested in 
any method which will tend to lessen labor 
or increase their profits. 


The waste of metal and the consequent 
loss caused by defective exposures would be 
sure to be an additional economical objection 
to the universal adoption of the “direct 
method.” In the case of the present method 
it is only necessary to repolish a sheet of 
metal with pumice stone in order to effect 
a saving and again prepare it for use. 

The excessive cost of powdering, burning- 
in and etching each separate exposure, 
whether small or large, would multiply 
the expense to the producer, and all the 
saving now effected by putting a dozen 
or more small negatives on one large flat 
and etching them together would be lost, 
and in commercial shops prices would soar 
to such heights that only the very rich could 
afford to use the “direct method” plates. 

Further it would be impossible to insert 
one or more half-tones into a line border or 
layout to embellish the half-tones as is now 
done on all newspapers. It would likewise 
be impossible to correct a proportion or make 
a change by cutting the negative as is often 
done to save re-drawing. 

In condensed form the process is as fol¬ 
lows: A polished metal plate is coated with 
a substratum of collodion, and on this the 
gelatin emulsion is coated just as in making 
dry plates. To get a positive half-tone 
image in the camera, the metal dry plate is 
exposed behind a half-tone screen to an 
ordinary negative of the subject to be en¬ 
graved in half-tone. A glycin developer is 
used and the plate washed and fixed as is 
customary with a dry plate. The plate is 
then immersed for half a minute in the fol¬ 
lowing bichromate solution, used at a tem¬ 


perature of 6o° F.: 

Bichromate potassium crystals. Yi ounce 

Potash alum, crystals.1 2 grains 

Distilled water.1 2Y2 ounces 


The plate is then rinsed with water and 
developed like a carbon print in hot water 
of a temperature of about 120° F., first 
allowing the film to soak in the water for a 
minute or two and then assisting the re¬ 
moval of the soluble portions of the film 
with a camel’s-hair brush or other means. 
The plate is then treated like an enamel- 
coated plate. It is put in a whirler, the 
surplus moisture driven off and the plate 
dried while whirling face down over a gas- 





PHOTO-ENGRAVING ART 


107 


stove. When the plate is cool the collodion 
substratum is removed from the portion to 
be etched by a mixture of alcohol and ether 
on cotton wool. The plate is then ready 
to be etched in the usual manner with per- 
chlorid of iron. When a negative image is 


had on the metal plate, as when it is ex¬ 
posed to a positive copy, the inventor has 
adopted a reversing process by which he 
changes the negative image into a positive 
before he develops the gelatin as a carbon 
print. 



CATALOGUE ILLUSTRATION 

In shading, mechanical and decorative detail this illustration shows a style especially adapted to fine cata¬ 
logue work. 

Drawn and engraved for the Victor Talking Machine Co., by Gatchel & Manning, Philadelphia, Pa. 














io8 


PHOTO-ENGRAVING ART 



Illustration by Joseph Pennell. From “Pen Drawing.” 


“PEN DRAWING” 


An Interesting Treatise on the Art of Drawing with a Pen 


By C. D. MAGINNIS 



PEN DRAWING. An illustrated treatise, by C. D. 

Maginnis; 5^x7 i; 120 pp. Price, $1.00. 

Bates & Guild, 42 Chauncy St., Boston, Mass. 

ERE is a book which 
the beginner and the 
more advanced student can 
read and derive much ben¬ 
efit from. It is written in 
an interestingly instructive 
manner, and the layman 
who would better appre¬ 
ciate and understand the 
beauty, latitude and tech¬ 
nique of pen-drawing will, 
after reading this volume, 
enjoy more than ever the 
study of this delightful 
medium. 

Style, of course, is in¬ 
dividual, and no matter 
what master one attempts 
to imitate, one’s own in¬ 
dividuality will always be 
shown in some little knack 
or stroke. 


This book is so thorough and still so short 
as not to be tiresome or heavy, and can be 
read through quickly and 
then re-read. There are 
numerous excellent illus¬ 
trations by such masters 
as Vierge, Pennell, Rail- 
ton, Goodhue, etc., etc., 
each one displaying a 
different technique and 
method of treatment; all 
good and worthy of care¬ 
ful study. The ambitious 
student would do well to 
make copies of as many as 
his time will allow, reading 
carefully the explanations 
and criticisms as he pro¬ 
ceeds. This will aid ma¬ 
terially in the development 
of a pleasing technique. 

The great difficulty which 
confronts most students 
who would draw with a pen 


The Photograph. 















PHOTO-ENGRAVING ART 


IO9 


is that they are afraid of their medium. The 
harsh, black lines frighten them, and it is only 
after much hard work and painstaking study 
that they overcome their fear and get atmos¬ 
phere and feeling into their work. As soon as 
the student can forget the medium and think 
only of the effect 
he is after, his 
technique and 
freedom will de¬ 
velop. 

We quote be¬ 
low a portion of 
a chapter from 
“Pen Drawing,” 
and show also a 
halftone of 
photograph de¬ 
picting a street 
scene, and a pen¬ 
drawing from the 
same subject 
drawn by the 
author, C. D. 

Maginnis, which 
will serve to il¬ 
lustrate the com¬ 
prehensive man¬ 
ner in which 
the subject is 
treated: 

The photo¬ 
graph shows a 
in Hol- 
In this 
the first 
have 


we 



street 
land, 
case, 
thing 

to determine is 
where the inter¬ 
est of the sub¬ 
ject centers. In 
such a perspec¬ 
tive the salient point 
lies in a foreground 
street be merely a setting for 
sentation of some incident, 
foreground figures. In either case the em¬ 
phasis should be placed in the foreground, 
the distant vanishing lines of the street be¬ 
ing rendered more or less vaguely. In the 
present subject, however, the converging 
sky and street lines are broken by the quaint 
clock-tower. This and the buildings under¬ 
neath it appeal to us at once as the most 


Pen Drawing by C. D. Maginnis. 


of the picture often 
building; or, if the 
the repre¬ 
in a group of 


important elements of the picture. The 
nearer buildings present nothing intrinsical¬ 
ly interesting, and therefore serve no better 
purpose than to lead the eye to the center 
of interest. Whatever actual values these 
intermediate buildings have that will hinder 

their usefulness 
in this regard 
can, therefore, be 
changed or actu¬ 
ally ignored with¬ 
out affecting the 
jy integrity of the 

sketch or causing 
any pangs of 
conscience. 

The building 
on the extreme 
left shows very 
strong contrasts 
of color in the 
black shadow 
of the eaves 
and of the shop- 
front below. 
These contrasts, 
coming as they do 
at the edge of the 
picture, are bad. 
They would act 
like a showy 
frame on a deli¬ 
cate drawing, 
keeping the eye 
from the real 
subject. It may 
be objected, 
however, that it 
is natural that 
the contrasts 
should be 
stronger in 
the foreground. Yes; but in looking straight 
at the Clock-tower one does not see any such 
dark shadow at the top of the very uninterest¬ 
ing building in the left foreground. The 
camera saw it, because the camera with its 
hundred eyes sees everything, and does not 
interest itself about any one thing in par¬ 
ticular. Besides, if the keeper of the shop 
had the bad taste to paint it dark we are not 
bound to make a record of the fact; nor 
need we assume that it was done out of re¬ 
gard to the pictorial possibilities of the 






no 


PHOTO-ENGRAVING ART 


street. We decide, therefore, to render, as 
faithfully as we may, the values of the clock- 
tower and its immediate surroundings, and 
to disregard the discordant elements, and we 
have no hesitation in selecting for princi¬ 
pal emphasis in our drawing the shadow 
under the projecting building. This dark 
accent will count brilliantly against the 
foreground and the walls of the buildings, 
which we will treat broadly as if white, ig¬ 
noring the slight differences in value shown 
in the photograph. We retain, however, 
the literal values of the clock-tower and 
the buildings underneath it, and express as 
nearly as we can their interesting variations 
of texture. The buildings on the right are 
too black in the photograph, and these, as 
well as the shadow thrown across the 
street, we will considerably lighten. After 
some experiment, we find that the building 


on the extreme left is a nuisance, and we 
omit it. Even then, the one with the bal¬ 
cony next to it requires to be toned down 
in its strong values, and so the shadows 
here are made much lighter, the walls be¬ 
ing kept white. It will be found that any¬ 
thing like a strong emphasis of the pro¬ 
jecting eaves of the building would detract 
from the effect of the tower, so that the 
shadow under the eaves is, therefore, made 
grayer than in the photograph, while that 
of the balcony below is made stronger than 
the shadow of the eaves, but is lightened 
at the edge of the drawing to throw the 
emphasis toward the center. 

To add interest to the picture, and more 
especially to give life to the shadows, several 
figures are introduced. It will be noticed that 
the cart is inserted at the focal point of the 
drawing to better assist the perspective. 


GRAIN COLOR PLATES 

By J. S. SUNDERLAND 

(Reprinted from Penrose’s Process Year Book) 


T T OW frequent are the remarks of ar- 
tists as to their dislike of the gen¬ 
eral mechanical appearance of tri-color work 
with the mechanical engraved screen. 
There is certainly in many instances cause 
for these derogatory remarks, and much 
more so after having seen good subjects re¬ 
produced by the grain or Metzograph 
screens by Wheeler, there being more detail 
in the texture of the pictures, while a dif¬ 
ferent character pervades the production 
generally. There are, however, some little 
difficulties to be overcome in order to pro¬ 
duce good results, but the best way appears 
to be continual practice, thus surmounting 
the difficulties as they crop up, for one can 
rest assured that only patience and the de¬ 
sire to excel will bring about the satisfaction 
of achieving something really artistic, and 
any cut-throat attempt to produce fine-grain 
tri-color work at the so-much-per-square- 
foot rate will be somewhat disastrous to the 
engraving house itself. The process is 
rather to be recommended for the reproduc¬ 
tion of pictures of such value as would be 
acceptable for framing, by so doing en¬ 
abling the color-plate maker to specialize in 


this particular direction. Whatever is done 
in making this class of color blocks, a few 
general hints may be acceptable to any one 
for the first time making the attempt. 

The best way is to use positives for the 
three colors—this was done in the instance 
of the ‘‘Musketeer,” which illustrates this 



Fig. i. Enlargement from Negative showing dot 
formation most suitable for color grain plates. 

































G. Newnes, Ltd., Studios, 
London, Eng. 


The Musketeer. 

Reproduced with the Metzograph Screen. 


By Meissonier. 


(Reprinted by permission from Penrose's Process Year Book.) 

















PHOTO-ENGRAVING ART 



Fig. 2. Enlargement from Negative showing wormy 
structure obtained by wrong exposure, unsuit¬ 
able distance and too large stop. 


article. The class of negative required 
is rather different from the ordinary half¬ 
tone in one or two details, as they should 
be much softer than ordinary color nega¬ 
tives, and obtained by a small stop with 
screen distance almost close, rather full 
exposure. Only the negative should be 
cleared with no cutting. It is rather 
difficult to explain the actual experiences 
one has with these grain screens, but once 
the definite factors are understood there 
is very little trouble. The close proximity 
of the screen to the negative plate, to¬ 
gether with the small stop, has the effect 
of producing fine points all through the 
negative, instead of a wormy kind of struc¬ 
ture, which on the etching produces a 
rough, chalky texture not by any means in 
favor of the Metzograph screen; but with 
proper methods a grain as fine as photo¬ 
gravure can be produced—in fact, is pro¬ 
duced for intaglio work and being used. 
This close contact is the secret of the whole 
success of the Wheeler screens. 

Having obtained a negative of a soft, 
rather thin character, by correct exposure 
with no cutting, the matter of the print on 
metal has to be taken into consideration. 
So far the best results have been obtained 
by slowing the fish-glue solution, also 
using only a thin film. The printing from 
the negative should be in a soft light, with 
rather long printing, as against the time 
given to a half-tone negative. Carefully 


113 

wash out the print and burn as usual. The 
etching is done in a still bath, face being 
turned down; only the care of a good etcher 
is able to determine the amount of time re¬ 
quired for the etching, also it must be un¬ 
derstood that in any subsequent etching, 
after the first bath, care has to be exer¬ 
cised in the ordinary way, but very little 
re-etching is possible in grain plates. This 
in itself goes to show the corect manner in 
which all the various stages of the process 
have to be taken. The enlargements ac¬ 
companying this article are given to show 
the difference that can be made in the 
negatives, showing the correct and incorrect 
manner of making the same when the cor¬ 
rect color negatives are made in such a 
character as Fig. 1, giving dots and not the 
wormy nature of enlargement Fig. 2. Very 
little fine etching is required, also good 
smooth results are obtained showing full 
amount of detail. 

The last item is the method of printing 
fine grain color blocks. No doubt many 
printers would be unable to use them if in¬ 
structions were not given. There is no dif¬ 
ficulty if started in the proper way, which 
means obtaining good, flat impressions with 
little or no make-ready, and under any cir¬ 
cumstances the irreducible minimum of the 
thinnest tissue. Although a few years ago 
there were difficulties with halftones, the 
first difficulties with color grain blocks will 
disappear in a similar manner by practice, 
with the result that there will be less criti¬ 
cism by artists with reference to the me¬ 
chanical appearance of screen color work. 

MUST PAY FOR MISUSE OF PICTURE 

The $3,000 verdict obtained by Felicite S. 
Riddle, an actress, against Bernard MacFad- 
den, the “Beauty and Health” publisher, and 
Luther S. White, a photographer, for the un¬ 
lawful use of her picture as part of a hair 
restorer advertisement, was upheld by the 
Appellate Division of the Supreme Court. 
White sought to have the judgment reversed 
on the ground that he had photographed the 
plaintiff at a special reduced price on the 
understanding that he was to have full prop¬ 
erty rights in the picture. But the Court held 
that under the statutes the written permission 
of the subject of a picture must be obtained. 
—New York Sun. 






















PHOTO-ENGRAVING ART 


114 



Publtslfrd iHoutljhi in tty* Sntprrata of ifflafecra anb Marra 
of P^oto-iEngratilng 

FRED J. WILLOCK.EDITOR. 

THE HILLSIDE PRESS 

Publishers, 

Richmond Hill, New York. 

To insure the return of unavailable manuscript re¬ 
turn postage should be enclosed. 

Subscriptions—United States and Canada, $1.00 per 
year, single copies 10 cents. Foreign countries, 
$1.50 per year, single copies 15 cents. 

MAY-JUNE 


ENERGY 

Be energetic! 

Endeavor to accomplish something! 

Don’t wait for opportunity—make it! 

The old theory that opportunity 
makes the man is exploded. The mod¬ 
ern version reads that man makes the 
opportunity and then takes advantage 
of it. 

Energy misapplied, however, is like 
a dog madly chasing its own tail. 
There is no doubt about the energy, 
but it is going to waste as it is being 
used to no purpose. 

Many good jobs are lost through lack 
of energy in following them up. 

If a customer writes for prices, treat 
the inquirer as though he was sitting 
beside you waiting for an answer in 
order to place the job. 

Don’t say: “Oh, he is shopping 
around and we cannot compete with So- 
and-So on price, but our engravings are 


better,” and then let it go at that; but 
get busy ; figure out what you can do the 
job for and put all the energy you can 
into your answer in an endeavor to con¬ 
vince him. Follow it up, if possible, by 
sending your salesman to add his weight 
and bring back the job. 

Don’t say to yourself that “it is too 
small a job for us to handle.” You 
never know what big job the customer 
might have up his sleeve or be in a 
position to swing your way. And above 
everything: 

Don’t lay the letter aside to be taken 
up later when you have more leisure. 
Owing to several always unexplainable 
causes the looked-for leisure may never 
come. Intentions never pay dividends 
—actions count! 

In our last issue we published a rumor to 
the effect that Gill was negotiating for the 
control of the Electro-Light Engraving Co., 
New York. Mr. Wilson informs us, how¬ 
ever, that the rumor was ridiculously untrue, 
and we are genuinely sorry if we have caused 
them any embarrassment. 


OPPORTUNITY 

By Walter Malone 

They do me wrong who say I come no more 
When once I knock and fail to find you in; 
For every day I stand outside your door, 
And bid you wake and rise to fight and 
win. 

Wail not for precious chances passed away, 
Weep not for golden ages on the wane; 
Each night I burn the records of the day, 

At sunrise every soul is born again. 

Laugh like a boy at splendors that have sped, 
To vanished joys be blind and deaf and 
dumb; 

My judgments seal the dead past with its 
dead, 

But never bind a moment yet to come. 
Though deep in mire, wring not your hands 
and weep, 

I lend my arm to all who say: “I can.” 
No shamefaced outcast ever sank so deep 
But he might rise and be again a man. 

—Inland Printer. 


















PHOTO-ENGRAVING ART 


115 


TRADE NOTES 

Attention is called to the advertisement of 
John Royle & Sons, in another column. They 
offer to send a book, on the use and care of 
saws, to all who are interested. 

* * * 

The Graphic Arts Company of Philadel¬ 
phia, in another column, announces the fact 
that there are many Levy Blast Etching Ma¬ 
chines now in successful use in the United 
States and Europe, and offer to send further 
information to engravers who would improve 
the quality and volume of their product. 

* * * 

We direct special attention to our frontis¬ 
piece, a duotone made by the Powers Photo- 
Engraving Co., N. Y., and also to our other 
insert, “The Musketeer,’’ by Meissonier, 
which is a very fine specimen of three-color 
grain screen work by G. Newnes, Ltd., 
Studios, London, Eng. 

* * * 

Bwana Tumbo is a joily little caricature of 
the “Big Hunter,” “The Best Boss of This 
Country We Ever Had.” It is a disseminator 
of optimism and good cheer, and in our 
opinion is going to be the one “Best Seller.” 
* * * 

The Underwood Typewriter is another ad¬ 
vertiser. Their billing system is something 
which all engravers who care for neatness 
and system should look into. 

* * * 

Want to buy a printing plant? One that’s 
making money? See the adv. on page 98. 

* * * 

D. J. Bunce, in another column offers to 
send sample sheets of his “masking papers” 
to interested parties. This should be proof 
that he has the goods. A trial will convince. 
* * * 

Windsor & Newton’s Deck Palette for re¬ 
touching and spotting is a joy to the artist 
and a positive source of delight to the pho¬ 
tographer working from retouched copies. 

* * * 

Luthin’s negative and stripping collodion is 
making a hit with engravers. Luthin’s is an 
old-established chemical house and backs up 
anything they sell. 

* * * 

Unless detained by unavoidable circum¬ 
stances the Editor expects to attend the Con¬ 
vention of the I. A. P. E. He is desirous 
of meeting personally, every member who 
attends. 


HELP WANTED 

High-Class Photo Engravers who can de¬ 
liver. Write stating experience, habits, salary 
expected and where last employed. Box 12, 
Photo-Engraving Art. 


WE WANT A 

LIVE 

WIDE-AWAKE ADVERTISING 

MAN 

TO REPRESENT US IN 

CHICAGO 
SAN FRANCISCO 
BOSTON 
PHILADELPHIA 

AND ANYWHERE ELSE 

IT In fact, if you consider yourself a 
bright energetic fellow, old or young, 
and you can give us all or part of your 
time, you may interest us, and we may 
put you in the way of making a little 
extra money or even a steady income. 
IT Tell us about yourself and we will 
go into details. 

The Hillside Press 

PUBLISHERS 
RICHMOND HILL, N. Y. 


Artist’s 


Under this heading we will print each month a 
number of artist’s cards. Rates on application. 
















116 


PHOTO ENGRAVING ART 


THE I. A. P. E. HAS DUTY INCREASED ON IMPORTED 

“VIEW CARDS” 


By H. G. C. STYLES 

President International Association of Photo-Engravers 


T 7 OR some months I have been at work 
on various matters incident to an in¬ 
crease in duty on souvenir post-cards which 
are now coming into this country from 
European countries, principally Germany, 
at the duty of five cents per pound, a rate 
which is so absurdly low that it amounts to 
no protection whatever. In considering this 
matter the Ways and Means Committee of 
the House of Representatives decided to 
raise the duty to ten cents a pound, and the 
bill passed the House with that rate. When 
it reached the Finance Committee of the 
United States Senate they put the rate back 
to seven cents a pound. 

Realizing the necessity for prompt and 
decisive action, I called a conference to be 
held in Washington on Sunday, April nth. 
This was attended by a number of repre¬ 
sentatives of the Post Card Manufacturers’ 
Association and others largely concerned in 
an increase of duty. The matter was thor¬ 
oughly considered at this meeting, and by 
appointment on the following morning, 
Monday, April 12th, we had a hearing be¬ 
fore General Appraiser Sharretts, repre¬ 
senting the Senate Finance Committee. 
This session lasted several hours on Mon¬ 
day and was followed by further hearings 
on Tuesday and Wednesday. 

As an outcome of the matter Mr. Shar¬ 
retts has recommended to the Senate 
Finance Committee that the import duty on 
view cards be increased to fifteen cents per 
pound and 25 per cent, ad valorem. It will 
be noticed that this is a very material in¬ 
crease over the present rate, and if carried 
in the Senate and adopted in conference 
with the House of Representatives and 
finally becomes a law it will closely approx¬ 
imate protection on the view card industry 
and will enable the American engravers to 
compete with the European establishments 
in the production of plates for post card 
printing. 

You will note that I use the term “view 
cards.” This is because the view card runs 


are usually not in excess of five thousand, 
and, as a matter of fact, most of the runs 
are not over three thousand cards. Fancy 
post cards, such as comics, Christmas cards, 
etc., are usually produced in such Hrge 
quantities that the American printers and 
lithographers are already able to compete 
with the German houses on this class of 
work, and for that reason we are not in¬ 
terested in asking Congress to give an 
increase of duty on other than the view- 
card feature. 

As it is very likely there will be opposi¬ 
tion to the very considerable increase in 
duty as above outlined, I earnestly urge 
that you will write to the Senators repre¬ 
senting your State, pointing out to them 
as concisely and positively as possible the 
necessity for the adoption of this rate in 
the new tariff law. As a matter of patriot¬ 
ism alone there should be little difficulty in 
getting this rate established, as it is cer¬ 
tainly humiliating to Americans when pur¬ 
chasing view post cards to find four-fifths 
of them bear the legend “Printed in 
Germany.” 


THE MAN AND HIS JOB 

I haven’t much faith in the man who com¬ 
plains 

Of the work he has chosen to do. 

He’s lazy, or else he’s deficient in brains, 

And, maybe, a hypocrite too. 

He’s likely to cheat and he’s likely to rob; 

Away with the man who finds fault with his 
j ob! 

But give me the man with the sun in his 
face, 

And the shadows all dancing behind, 

Who can meet his reverses with calmness and 
grace, 

And never forgets to be kind; 

For whether he’s wielding a scepter or swab, 

I have faith in the man who’s in love with 
his job. —Philadelphia Bulletin. 




PHOTO-ENGRAVING ART 


n 7 


“PERSPECTIVE” 


By DORA MIRIAM NORTON 

Instructor in Perspective and Sketching, Pratt Institute, Brooklyn, N. Y. 


PERSPECTIVE. Freehand perspective and sketch¬ 
ing, by Dora Miriam Norton; 7^4 x io }4 x 54 5 
T 73 PP-, 262 illustrations. Price, $3.00. Pub¬ 
lished by the author, and for sale by The Hill¬ 
side Press, Richmond Hill, N. Y. 

Ih'REEHAND Perspective and Sketch- 
A ing,” principles and methods of ex¬ 
pression in the pictorial representation of 
common objects, interiors, buildings and 
landscapes, by Dora Miriam Norton. 

The above is the title and describes fully 
an instructive volume on perspective, that 
stumbling block of all beginners and many 
advanced students who have never given the 
matter proper attention. 

Perspective is unquestionably the funda¬ 


mental principle of all realistic pictorial rep¬ 
resentation, and to teach thoroughly these 
principles is the object of the book. 

We present herewith several illustrations 
which will show how even in outline pencil 
sketches the art quality, combining composi¬ 
tion or space relation, and carefully drawn 
objects can be made pictorially interesting. 

The student, in commencing the study of 
perspective, must first learn that he must 
subordinate what he knows to what he sees. 
An illustration is given as follows; 

“We know the top of a cylinder to be a 
circle, and therefore we tend mentally to see 
a circle, though it is just as truly a fact that 
the top can only appear to the eye as a circle 



Arches from the Cloister of St. Paul’s Without the Gates, at Rome. 
Specimen pencil illustration from “Perspective.” 





















118 


PHOTO-ENGRAVING ART 



Finished Sketch of Group of Articles from Memory. From “Perspective.” 


when the cylinder is held so as to lose sight 
of all other parts of it. Consequently the 
first aim and benefit in studying perspective 
is learning to see; that is, to know the 
image really presented to the eye.” 

This example illustrates the drawing of ob¬ 
jects from invention or memory. The 
student may sketch this exercise as di¬ 
rected; then should invent or draw from 


memory one of his own arrangement, 
making small trial sketches, and using 
the best of these in his final composition. 
Should his memory not be clear enough for 
this, it may be refreshed as often as neces¬ 
sary by study of the objects he chooses to 
draw, the only condition being that the 
drawing he done without the object in view. 

In this exercise the Japanese luncheon-car¬ 
rier is placed first. Its ellipses 
are sketched in full, whether en¬ 
tirely seen or not. The bowl 
shaped top, being slightly in¬ 
clined, is drawn on a leaning 
axis. But it is perfectly sym¬ 
metrical on this axis. This sym¬ 
metry should be tested in the 
drawing by turning it to bring 
the axis vertical, when any error 
is easily detected. 

It was desired to draw the 
flat dish as it would appear if 
touching the luncheon-carrier. 
Its height (x y) is therefore 
measured upon the front of that 
object from its lower edge, and an 
ellipse of the proper roundness 
drawn at that height. The top 
















































PHOTO-ENGRAVING ART 



ellipse of the dish would touch the other 
object somewhere in this ellipse, and so was 
drawn tangential to it. To obtain the bot¬ 
tom ellipse of the dish, this same height, in¬ 
creased to allow for its slightly greater near¬ 
ness to the eye, was measured downward 
from the dish top. But as the sides of the 
dish are flaring, this measuring was done from 
the estimated true middle of the top of the 
dish, giving O' for the true center of the 
lower ellipse. The foot is like a very short 
cylinder. The flaring sides of the dish are 
drawn tangentially from the rim (F.F) to the 
upper ellipse of the foot. 

In drawing the ornament on the luncheon 
carrier the explanation in 
a previous chapter is re¬ 
called. On the cover the 
band of fret decoration 
appears narrowed at its 
front, and widest at the 
ends. 

Note the foreshorten¬ 
ing in its details, and 
how the lines of the fret 
express the curving form 
of the cover. It will be 
seen that the stripes on 
the object and some lines 
of the fret follow the pro¬ 
file lines. 

The fan is purposely 
placed so that it is not 
foreshortened. There¬ 
fore the two points (G, 

G) at which it rests on 
the table appear, as they 
actualy are, in a horizon¬ 
tal line. It also appears 
in its true shape, sym¬ 
metrical on an axis pass¬ 
ing through its handle 
(H, H). It is more eas¬ 
ily drawn entire first, 
erasing later the part not 
needed. 

“Perspective,’’ in the 
'opinion of the Editor, is 
the most complete and 
comprehensive volume 
yet published, and in its 
presentation of the meth¬ 
ods and principles for 
the study of the subject 
unquestionably has no 
peer. 


REPAIRING BROKEN GLASS ARTICLES 

Take a little ordinary fish glue enamel, 
apply it to the parts broken and then ex¬ 
pose it to light; this will have the same 
effect as on a half-tone, making it water¬ 
tight. It is better to do this immediately 
the article is broken because it will be per¬ 
fectly free from grease and the enamel will 
hold better. If it is only cracked it can be 
done in the same way by letting the enamel 
flow into the crack. 


Don’t put success upon a pedestal so high 
to be all but unattainable. 


as 


Illustrating a Group of Cylindrical Objects. From " Perspective. 


















120 


PHOTO-ENGRAVING ART 


PHOTO-ENGRAVERS! ATTEND THE CONVENTION OF 

THE I. A. P. E. 

It will be held at the Hotel Kaaterskill, Catskill Mountains, July 6th, 7th, and 8th. 


I T has been definitely decided to hold the 
next convention of the International 
Association of Photo Engravers at the 
Hotel Kaaterskill, in the Catskill Moun¬ 
tains. 

The dates on which the meetings will be 
held are July 6, 7 and 8, and, on account 
of the 4th of July coming on Sunday, and 
Monday being observed as a holiday, it will 
give the engravers and their families an 
opportunity to spend several days at the 
Kaaterskill Hotel, which is a truly delight¬ 
ful place. 

At this convention a very large attend¬ 
ance is expected. The Secretary expects 
200 people to attend, as a special program 
is being prepared and many interesting 
features will be presented to those 
attending. 


The Secretary now has assurances from 
members in California, Colorado, Winnipeg 
and several distant points that they will 
attend the convention. Extraordinary in¬ 
terest is being evinced and we will feature 
it in our July issues. 


HE KNEW HIS FRIENDS 

“Yes, sir,” boasted the hotel proprietor, 
“that dog’s the best rat-catchin’ dog in the 
state.” 

Even as he spoke two big rats scurried 
across the office floor. The dog merely 
wrinkled his nose. 

“Rat dog!” scoffed the traveling man. 
“Look at that, will you?” 

“Huh!” snorted the landlord. “He knows 
them. But just you let a strange rat come in 
here once!”— Everybody’s Magazine. 



tJThis cut represents the Standard Interchange¬ 
able Air-Brush for the photo-engraver, fitted with 
lightning interchangeable glass jars or metal 
side cups all in one brush. Illustration 
shows the exact size of the instru- 
ment. It weighs only All the main 

I V2 ounces. P arts are on the 

outside of the shell, 
adjustable for high or low 
pressure. With one movement of 
the index finger and with a sweep 
of the hand it will go from a hair 
line to a broad spray. Any kind 
of colors may be used. 


“ Construction Simplicity ” 

For further information and prices address the Patentee and Manufacture 

161 W. MADISON ST. 
CHICAGO 


O. C. WOLD 


In answering please mention “ The Photo-Engraving Art ” 









PHOTO-ENGRAVING ART 


121 


THE FACT that there are now actually at 
work or on order 47 Acid Blast Etching Machines 
and 10 Etch Powdering Machines in the United 
States, and 21 Acid Blast Etching Machines and 8 
Etch Powdering Machines in Europe speaks for itself. 


The Graphic Arts Company 

Owning and Controling all Patents on Levy Etching Machines 

1221 Spring Garden Street 
Philadelphia , Pa. 


SAMPLE BOOK FROM WESTERMAN 

A gorgeous book of sample drawings came 
to us the other day from L. A. Westermann 
Co. It has been our good fortune, from 
time to time, to see many excellent sample 
books, but this book from the Westermann 
Company, in our opinion, is the “Sample 
Book de Luxe.” It measures 11*4x14*4, 1S 
printed on heavy paper of the finest quality, 
in from one to five colors. Each page has 
the Westermann trade mark embossed in the 
lower right-hand corner. The cover is Strath¬ 
more, embossed with the word “Drawings,” 
and has a square 7x7 inches, hot-pressed, on 
which is pasted a three-color cut-out which 
was made by Zeese-Wilkinson Co. Of course, 
these books are too expensive for promis¬ 
cuous distribution, but the Westermann Co. 
will be glad to send one to any responsible 
concern who is interested in and is willing to 
pay for strictly high-grade art illustrations. 


Remember Longfellow’s words: “The 
talent of success is nothing more than 
doing what you can do well, and doing well 
whatever you do.” 


CARLO 

NEGATIVE 

COLLODION 

No mixing — ready for use — 
never varying—superior to any 
that can be made in the shops. 
Price $2.00 per gallon, includ¬ 
ing containers. 

CARLO 

STRIPPING 

COLLODION 

Price $1.25 per gallon, includ¬ 
ing containers. 

A free sample of each sent to any 
address on request. 

R. H. LUTH IN 

Drugs and Chemicals 

191 BOWERY, NEW YORK 


















122 


PHOTO-ENGRAVING ART 


AMMONIA FUMES REMOVE IODINE 
STAINS 

The following hint may come in handy 
to the operator should he ever be unfor¬ 
tunate enough to drop an original in his 
iodine dish. Of course, as soon as the 
iodine touches the paper it is readily 
absorbed and turns the paper a dark brown 
and entirely spoils it. Take the original 
and pass it under the tap rapidly so as to 
remove any iodine remaining on the paper, 
but not enough to wet the paper through, 
and then let the fumes of ammonia pass 
over it for a minute or so and it will en¬ 
tirely remove all signs of iodine. Should 
the stain be caused by a finger mark, as is 
often caused when the operator has an 
iodine stain on his fingers, it will be un¬ 
necessary to wash the original—the am¬ 
monia fumes will be quite sufficient. 

A NEW DRAGONS BLOOD 

The purest dragons blood is no longer 
the darkest red, a new refining process pro¬ 
ducing blood of light tint. Every etcher 


has suffered annoyance and loss of time on 
account of the varying quality of different 
lots of dragons blood, even though pur¬ 
chased from the same supply house and at 
the same price. This is due to the fact that 
after being gathered and packed by natives 
throughout the country the gum is sent 
from India in the crude state. In this con¬ 
dition it contains foreign substances, diffi¬ 
cult to detect or separate in the raw state, 
and being allowed to remain, when ground 
greatly impairs the quality of the powder 
The Star Engravers’ Supply Co., of New 
York, have made the elimination of these 
substances a study for years and claim that 
they now have arrived at a successful solu¬ 
tion of the problem, and are ready to 
demonstrate the result to the engravers of 
the country. To newspaper etchers who 
value minutes this highly refined blood 
should be a great time saver. 


“That man,” says Beecher, “is a pauper 
who has only outward success.” 


©ualttp in tfjc JJegattoe 



JTT The making of the photographic negative is 
Til not only the first but the most important 
step in the mechanical processes involved in 
photo-engraving. A chain is no stronger than 
its weakest link, and by the same reasoning you 
can’t get the quality in your finished product 
unless you have it at the start. That means 
your lens must be right. With a 


#oer? “process JBagor” 


you are insured of the necessary quality in the 
negative. It is specially designed to meet the demand which improved methods 
in half-tone and process work have created. It is completely corrected for stigma- 
tism, is free from coma, axial and marginal spherical aberration. It is faster than 
ordinary process lenses, working at F. 7 . 7 . The field of view covered sharply 
at full opening is 60 degrees. The lens is used by leading process workers 
throughout the country, and its every-day work is its best recommendation. 

Especially suitable for three-color work. 


Address dept. K for booklet describing the lens, also our liquid filters and mounted reversing 
prism for process workers. We would also be glad to send samples of work done with this lens. 

01. (gum American ©ptiral Gin., 7 3 1. 130tlf S>t.. New fnrk 










PHOTO-ENGRAVING ART 


123 


“A GOOD SAWYER 


is known by the Saws that he keeps” 



Y OUR expert man will not tolerate 
poor saws. Why ? Because 
good sawing can only be done 
with a good saw kept in proper cut¬ 
ting condition. 

Royle’s “Book About Saws” contains 
some practical hints about the care and 
selection of saws that every sawyer 
should know about. 

A postal will bring a copy. 


John Royle & Sons, Paterson, N. J., U. S. A. 


Use Cutters that Cut—Royle makes that kind. 


WINSOR & NEWTON’S 

“iwk palette” 

(Francis A. Deck, New York City) 

For RETOUCHING and SPOTTING for 
Reproduction 

FIVE TINTS IN LARGE TUBES 



Goods bearing this trade-mark have received universal 
commendation for the past seventy-six years 

“ALBATA” Red Sable Brushes 
“BRITISH” finest ever made 

BLANC D’ARGENT 

For Process Reproduction 
IN LARGE BOTTLES 

WINSOR & NEWTON, Ltd. 

OF LONDON 

298 BROADWAY, NEW YORK CITY 

Our eood* are sold by all art dealers 



THE 


UNDERWOOD 

STANDARD TYPEWRITER 
Originated— 

Writing in-Sight Construction 
Built-in-Tabulators and 
Modern Bookkeeping Appliances. 

and Combines 

Originality, Stability, 

Speed and Adaptability. 

Before buying a machine that tries to imitate this origi¬ 
nal “Visible-Writing” Typewriter, let one of our 
representatives have a few minutes of your time, at 
yourconvenience Hewill not bore you, but will simply 
explain why IT IS 

He Machine You 
"Will Fventually Buy 

UNDERWOOD TYPEWRITER COMPANY. Ik. 
Aajwhcre. 


Please say “Saw your adv. in Photo-Engraving Art.” 
























Statuette six inches high, ivory finish 

THE KING OF SUCCESS 

IT DRIVES AWAY THE BLUES 
IT MAKES YOU AMBITIOUS 

WITH BWANA TUMBO ON YOUR DESK YOU’LL WORK 
DAY AND NIGHT, SMILING ALL THE TIME 

IT MAKES YOU WANT TO ACCOMPLISH THINGS 

JUST TO LOOK AT IT MAKES YOU LAUGH—TO LAUGH 
MEANS TO FORGET YOUR TROUBLES 

PRICE, $1.00 Agents Wanted 

STATUETTE SALES COMPANY 

420 TRIBUNE BLDG., N. Y. 


Please say “Saw your adv. in Photo-Engraving Art.” 
















FREEHAND PERSPECTIVE 
AND SKETCHING 

By DORA MIRIAM NORTON 
Instructor in Perspective, Pratt Institute, Brooklyn, N. Y. 

TWO HUNDRED AND SIXTY-TWO ILLUSTRATIONS 

A series of exercises with explanatory text, so cov¬ 
ering the subject that following the course as di¬ 
rected gives the power to draw with ease and intel¬ 
ligence from object, memory and descriptions. 

A book of reference for artists and draughtsmen. 
Few technical terms employed and all clearly ex¬ 
plained. In the absence of a teacher a practical 
knowledge of the subject may be gained from this 
book alone. 

Price, $3.00 

FOR SALE BY 

THE HILLSIDE PRESS, 

RICHMOND HILL,.NEW YORK 



THE KIND OF PICTURES 
THAT SELL YOUR GOODS 


Photographs 
that need the 
Minimum of 
Retouching 
* 

Fast Service 

& 

High Quality 

& 

Right Price 

Indoor and 
Outdoor Work 



•PHOTOGRAPHER- 

8 2 WEST BROADWAY 
• NEW YORK* 


A Large 
GALLERY 

< 2 * 

Expert 

Operators 

Enlargements 

or 

Reproductions 

j* 

Silver Prints 

< 2 * 

Telephone 
1751 Cortlandt 

































SUM 29 


Make a scratchy noise — you know; just 
like you were writing a check for $1.00. 
Send the result of your effort to us and we 
will see that you get your money’s worth 
in twelve instalments of good things in 

ftyoto-IEngrairntg Art 

THE HILLSIDE PRESS, Publishers 
Richmond Hill .... New York 


Date 

The HILLSIDE PRESS, Publishers 

RICHMOND HILL, N. Y. 

Enclosed herewith is one dollar. Please send 
Ptjolfl-Ettgratrittg Art to the address below for one year, com¬ 
mencing with the number. 


Name in full 


Address in full 

No . 























lfl Sltthj-AuguBt 1909 l&C&tlfjf* 






























































































Make a scratchy noise — you know; just 
like you were writing a check for $1.00. 
Send the result of your effort to us and we 
will see that you get your money’s worth 
in twelve instalments of good things in 

flljato-iittgramttgi Art 

THE HILLSIDE PRESS, Publishers 
Richmond Hill .... New York 


The HILLSIDE PRESS, Publishers 

RICHMOND HILL. N. Y. 

Enclosed herewith is one dollar. Please send 
JIljfltfl-lEttgramttiJ Art to the address below for one year, com¬ 
mencing with the _number. 


Name in full 


Address in full 


No. 












flljnto-tEttgratnng Art 


Volume I 


The Hillside Press, Publishers, Richmond Hill, N. Y. 

JULY-AUGUST, 1909 


Number 9-10 


CONTENTS 


Frontispiece, LUNCHEON AT ELKA PARK.... 126 

COLOR AS APPLIED TO PRINTING— IT. 

By H. G. Maratta. 127 


EXHIBITS OF PROGRESSIVE SUPPLY MEN 

CONVENTION OF THE I. A. P. E. 

A NEW THEORY FOR COLOR WORKERS 


By F. Dogilbert... 135 

EDITORIAL—PROFIT .,. T38 

SAMPLE ENGRAVING FROM THE CENTRAL ENGRAVING CO. 140 

A COMPLETE COST-ACCOUNTING SYSTEM 

By A. W. Rathbun .,. 141 

SPECIMEN FROM BALTIMORE-MARYLAND ENGRAVING CO. 143 

HINTS AND WRINKLES. 144 


Copyright, 1909, by The Hillside Press, Publishers 


D. J. BUNCE 

482 GRANT ST. 
BUFFALO, N. Y. 

Manufacturer^ all fr tnfrg of 

Masking 

papers 

SEND FOR SAMPLE 
SHEETS AND PRICES 

WE CAN SAVE 

YOU MONEY 

Please say “Saw your 


TWO BOOKS 

for the 

ENGRAVER’S 
-^ARTIST ==- 


LETTERS & LETTERING 

By Frank Chouteau Brown 
$ 2.00 


PEN DRAWING 

By C. D. Maginnis 
$ 1.00 

There isn’t anywhere enough space here to tell 
about these —the two best books on their respective 
subjects ever published. Get them and see for your¬ 
self. If you don’t want to keep them, get your 
money back. Thousands have been sold on these 
terms. For designing advertising "copy,” LET¬ 
TERS & LETTERING is worth $10.00 to any 
artist. 

BATES & GUILD CO., PUBLISHERS 

46 CHAUNCY ST., BOSTON 


'. in Photo-Engraving Art.” 

















































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IJubludich iHnutl|Ui tu tljr 3ntrr^utfl nf iEakrra anb Marra of Jiljoto-iEnijramttg 

VOL. I., No. 9-10. JULY-AUGUST, 1909 


COLOR AS APPLIED TO PRINTING 


The Solar Spectrum in Relation to Margo Pigments* 


Second of a scries of articles written 

By HARDESTY 

'THE subject “Color” has puzzled the 
mind of man for many years. From 
among the numerous books on the subject, 
it is impossible to glean any information to 
help the student dealing with pigments. 
Pigments are color in the same sense only 
that a musical instrument is music. The 
instrument itself is not music, it is only a 
medium through which music may be pro¬ 
duced. Sounds and noises are not music, 
nor are all the reds, yellows, blues, purples, 
orange and green pigments placed upon the 
market by the manufacturer, color. Sounds 
and pigments become musical or harmoni¬ 
ous when they bear to each other certain 
fixed mathematical ratios. I do not think it 
improper to inform the artist or anyone 
using pigments, that too much thought must 
not be given to the scientific side of color if 
progress is to be made (i. e., light). 

(It is often said that many good pictures 
have been painted without knowledge of 
laws. This may be true, as the artist after 
many years of constant study, practice and 
observation of nature, should be able to pro¬ 
duce good work, even though he does not 
know how he accomplishes it. This has 
been called “feeling.”) On the other hand, 
these studies should be encouraged, not to 
speak of the pleasure that must result to the 
artist from being able to speak with au¬ 
thority and know that his color be correct, 
whether one likes it or not, for color, like 
music, may be right and still not appeal to 

* Copyright, T909, by 


especially for Photo-Engraving Art 

G. MARATTA 

ail alike. Some prefer the circus, others the 
religious music. Some demand circus col¬ 
ors, others the more soothing tones of the 
gray or graver colors, which being refined 
really require education to enjoy. When 
the artist asked the circus man the color he 
should use on a poster, the reply was, “Any 
color, so long as it is red.” This reply will 
hold good with the average advertising man. 
He knows the red, orange and yellow light 
are advancing colors. They symbolize a light 
and attract the eye. We all know how the 
red pleases (?) a bull. It affects mankind 
in a similar manner unconsciously. I dare¬ 
say the time is near when the vicious-col¬ 
ored posters, labels, etc., now used for ad¬ 
vertising purposes, will be treated as nui¬ 
sances, and suppressed, as we now suppress 
a disagreeable odor or noise. Everybody 
now wants red, orange or yellow on their 
printed matter, because, as they say, “it 
stands out.” The result is they, being all 
alike, not any, “stand out.” They would 
stand out much more, however, and the eye 
would rest longer and with more pleasure 
if the quiet harmonious contrasts of the re¬ 
tiring gray hues were used as backgrounds 
with small areas of the advancing colors in 
strong contrast. 

It is well to content ourselves with the 
information of our senses, by using the 
solar spectrum band upon which to base 
cur investigations of reflected light and 
not light, for the painter and printer has 

IT. G. Maratta, N. Y. 


















128 


PHOTO-ENGRAVING ART 


to do with the former, not the latter. We 
would not make much progress in litera¬ 
ture, mathematics, chemistry, or any of the 
sciences, if we did not use the alphabet, 
numbers, etc., intelligently, nor can we 
progress by disputing which of the colors 
of the spectrum band makes white light. 
As stated above, we must deal with pig¬ 
ments, and reflected light, not light itself. 

The source of color is light, which is 
either natural or artificial. Natural light, 
derived from the sun, is termed “white” 
or “solar light,” although daylight may be 
any color according to the hour of the day 
or atmospheric conditions. Artificial light 
is obtained by burning bodies, etc., and is 
usually colored light. Light is either direct 
or diffused. A rough surface will diffuse 
or scatter the rays. A polished surface will 
send pencils of light in parallel lines, such 
as a mirror. A polished ball will send pen¬ 
cils of light in all directions, some of which 
must reach the eye of the spectator, regard¬ 
less of his position. This is termed the 
'“hi ghlight ” When a ray of sunlight passes 
through a triangular shaped prism and is 
received upon a white screen, it is seen to 
consist of numerous rays of different colors, 
in the following order or sequence, red. 
orange, yellow, green, blue and purple. 
The limits of each color are not strongly 
, defined in this band or spectrum. They 
pass from one to the other, making an im¬ 
perceptible blend. There is a space where 
the red appears very red, then gradually 
inns into orange by blending with the ex¬ 
treme portion. Then with increasing pro¬ 
portions of the yellow until it reaches the 
pure yellow. From this pure yellow it 
gradually becomes greener by mixing with 
the extreme blue rays, which increases in 
green until we arrive at the pure green, 
which becomes blue green, then bluer and 
bluer until we reach the pure blue. Beyond 
the blue, the red is again approached, and 
mixing, produces the various purples, called 
lavender, violet, heliotrope, indigo, etc., 
which are purples, nevertheless. Either 
blue or red purples. On returning, or go¬ 
ing backward to the green, which may be 
blue or yellow green, or to the orange 
which may partake of the yellow or red, 
passing again to the purples at the red end. 
The purple, the darkest color of this spec¬ 


trum, appears on both ends, with yellow, 
the lightest contracted, and nearer to the 
red or warm end. While the blue, or cool 
end is pulled out, occupying more space 
than it should. This, I am led to believe, 
is due to the angles of the prism or the 
medium through which the light passes, as 
different mediums change the position of 
these colors. The wave lengths of the va¬ 
rious colors of the spectrum have been 
measured, and may be found in many text 
books. They are of the utmost value in 
spectrum analysis. To the artist or artisan, 
or anyone dealing with pigments, all of this 
information is of little help to guide him 
in producing harmonious color relations. 

As we are dealing with pigments, and not 
light, we must select pigments that are per¬ 
manent, and will mix with each other with¬ 
out chemical reaction, selecting the bright¬ 
est and purest to form a band in imitation 
of the solar spectrum. This is copying na¬ 
ture. It should be known that only the 
colors of the spectrum band are called 
“pure.” Pigments are impure, that is, we 
call red red simply because it has more 
red molecules than yellow or blue. The 
yellow is called yellow, for the reason that 
it has more yellow molecules than blue and 
red. d he blue has more blue than yellow 
or red. Thus each color contains all three 
of the colors. In order to get a standard 
red pigment, we must select a red that con¬ 
tains the same amount of yellow and blue. 
The yellow pigment must contain the same 
amount of blue and red. The blue, the same 
amount of red and yellow. This ribbon- 
like band, with its imperceptible blend from 
red through orange, yellow, green, blue to 
purple, must now be divided or cut up into 
a chromatic scale of twelve tones. It would 
be interesting as well as instructive to many 
to show the analogy between color and 
music. Color and music have no relation 
whatever, aside from their source, which is 
the same: Mathematics. We can properly 
compare the solar spectrum band with a 
plan of the monochord or stretched string. 

We have three fundamental sounds in 
music called, the tonic, mediant and the 
dominant. \ he first may be any given 
sound, and the other two bearing certain 
proportional relation to it, as i to 2, 3 to 4, 
and 4 to 5. 


PHOTO-ENGRAVING ART 


129 


Example.—Strike a stretched string 12 
inches long, or a bell 12 inches in diameter; 
should it give 256 vibrations per second, 
and, say, correspond to middle C, a 
string or bell in every way the same, 6 
inches in length or diameter, would be 
twice as acute and have double the number 
of vibrations per second, or as 1 is to 2. 

1 he same is true of an organ pipe. One 
16 inches in length produces, if in every 
way alike, a sound which will be an octave 
away, or an octave higher from one 8 inches 
in length, the different octaves always run¬ 
ning in the even multiples. There cannot 
exist a greater variety of sounds than that 
which is found between the tonic and its 
octave. We have a repetition over and 
over again in the different octaves of the 
same sounds, only higher or lower, more 
grave or more acute. (There cannot exist a 
greater variety of colors than those found in 
the spectrum band, like the octaves in music 
we have a repetition over and over again 
of the same colors, brought up to tints with 
white or a transparent base, lowered to the 
‘‘hues” by darkness or by mixing mathe¬ 
matical proportions of the colors.) The 
octave is called the first homogeneous sound. 
The next sound, of a distinct character called 
the mediant, or third to the tonic, when the 
vibrations are as 4 to 5. The dominant is 
the third primitive sound, and occurs when 
the vibrations are to the tonic as 2 to 3. In 
other words, the three primary notes repre¬ 
sent the beginning, the middle and the end, 
the trinity. These notes are not like the 
octave to the tonic, that is, the same sound 
more acute or grave, but are of a distinctive 
character relatively to it, and at the same 
time they combine with it in harmony to pro¬ 
duce the most perfect consonance. 

When an elastic body is put in a state of 
vibration, and produces a musical note, 
which we still call middle C, as this note 
dies away the other two notes, which make 
up the harmonic triad, are distinctively 
heard in succession, as the vibrations reach 
the relative proportional number referred 
to above. Color is to the eye as music is 
to the ear. By looking a moment at a 
patch of red, then at a white space, slowly 
the red fades away, and in its place appears 
the compliment, or a green composed of 
the two remaining colors. This is true of 


all colors. 1 he three primary sounds form 
the ground-work for all music, just as three 
primary colors form the foundation for all 
colors. I am using the musical analogy 
for the reason that all terms used in music 
are color terms. The chromatic scale really 
means color scale, and without scales in 
color and music little progress can be made. 

Let us find how the chromatic scale is 
reached with the three notes in music. By 
taking the monochord or stretched string, 
and using it as a plan, we have a beginning 
and an end. If the beginning C is 256 vi¬ 
brations, the octave C is 512, or a ratio of 
2 to 1. The octave has double the number 
of vibrations. 

C_C 

256 512 

The octave below 256 vibrations would 
be 128 vibrations. The octave below that 
would be 64, etc. Only when we have a 
beginning and an end can we have a middle. 

C_G_C 

256 384 512 

The middle represents the note G. and 
its vibrations are equal to 256, plus */2 of 
256, which is 128, the octave below; 256 plus 
128 equals 384 vibrations, for the note G. 
By dividing the beginning and its middle 
and adding 64 or one-half of 128, we get 
the vibrations of the note E, that is, 64 plus 
256 equals 320. Thus we have the first 
chord in music, C, E, G, C. 

By dividing the C and E or adding one- 
half of 64 or 32 to the 256 vibrations, we 
reach the vibrations of the note D. The note 
B is also 32 vibrations from the end or the 
octave C. It will be seen that the line or 
plan has been divided into even multiples 
only, for the notes F and A the string must 
be divided into the odd multiples of 3. 
That is, 256 plus one-third of 256, which is 
85 3-10 when added to the 256 equals, 341 3-10 
the note F, 85 3-10 plus 341 3-10 approximates 
the vibrations of the note A, or 426 6-10. 

CDEFGABC 
320 341 3 -io 

This shows the difference in vibrations 
between E and F to be 21 3-10, which is 
1-12 the scale or a chromatic full tone 

(Continued on page 146-) 






Exhibits of the Progressive Supply Houses at the I. A. P. E. Convention. 














PHOTO-ENGRAVING ART 


131 



H. C. C. Stiles, President, 
Maurice Joyce Engraving Co., 
Washington, D. C. 



Thomas Heath, Vice-President, 
Electric City Engraving Co., 
Buffalo, N. Y. 



John C. Bragdon, Treasurer, 
John C. Bragdon, 
Pittsburg, Pa. 


THIRTEENTH ANNUAL CONVENTION OF THE INTER¬ 
NATIONAL ASSOCIATION OF PHOTO-ENGRAVERS 


Held at the Hotel Kaaterskill, Catskill Mountains, July 6, 7, and 8, 1909 


T HE 13th Annual Convention of the In¬ 
ternational Association of Photo-En¬ 
gravers held at the Hotel Kaaterskill, Cats¬ 
kill Mountains, July 6, 7 and 8th, will always 
be remembered by those who attended, 
more for its success socially 
than for any actual commer¬ 
cial benefit. 

However, the members, 
who considered the Conven¬ 
tion of sufficient importance 
to close down their desks 
and combine a few days’ 
business with pleasure and a 
change of scene among the 
historical haunts of Rip Van 
Winkle, were more than re¬ 
paid. The speakers whom 
President Stiles secured 
produced much food for 
thought, as was evidenced by 
the many questions asked 
each one and the lively dis¬ 
cussion which followed their 
closing remarks. 

Roll call showed 104 paid- 
up-members, which was over 
200 per cent, increase over 
last year. 

Minutes of 12th Annual Convention were 
read and accepted. 

President’s report, the most notable fea¬ 
ture of which was the effecting of a raise 
in duty on ‘‘Made in Germany” view cards, 
to which President Stiles has successfully 
devoted much personal time and energy. 

Secretary’s report, in which he showed 
how his efforts were instrumental in in¬ 


creasing the number of active paid-up mem¬ 
bers, and how the Secretary’s Bulletin, after 
the first two numbers, was not only paying 
expenses, but also making a profit for the 
organization. 

Treasurer’s report showed 
the financial condition of the 
Association to be healthy, 
with a balance of several 
hundred dollars cash on 
hand. The Auditing Com¬ 
mittee appointed by Presi¬ 
dent Stiles O. Iv.’d the treas¬ 
urer’s report. 

Reports of all officers 
were unanimously accepted 
as read. 

Mr. W. T. G. Weymouth, 
President Typo Mercantile 
Agency, talked about “A 
New Draft System for Col¬ 
lecting Delinquent Accounts.” 

Mr. John Clyde Oswald, 
editor of “The American 
Printer,” delivered an in¬ 
structive address on “The 
Photo-Engraver and the 
Printer; From a Business 
Point of View.” 

Mr. Arthur Fruwirth discoursed learned¬ 
ly on “Focusing Old and New,” accom¬ 
panying his talk with a demonstration of old 
and existing methods, using a model 
camera with a focusing scale and many 
charts to make clear each point as he pro¬ 
ceeded. In our next issue we will print an 
illustrated article by Mr. Fruwirth. 

Mr. Louis Edward Levy’s topic, “Photo- 



George Brigden, Secretary, 
Toronto Engraving Company, 
Toronto, Ont. 









132 


PHOTO-ENGRAVING ART 


Engraving: A Retrospect and a Look 
Ahead,” was full of valuable and interesting 
historical data. 

Mr. Will Bradley, Art Director “Collier’s 
Weekly,” in his talk on “Color and De¬ 
sign,” handed the engravers present a hard 
nut to crack. Mr. Bradley, after going 
over the growth of “Collier’s Weekly" and 
the demands of the presses, paper and inks, 
explained that as yet “Collier’s” was un¬ 
able to get the proper results from their 
color plates. He did not know the positive 
solution, and felt that it was up to the 
engravers to solve the problem. 

We were fortunate enough to secure in 
full the address by Mr. N. S. Amstutz: 
“Science and Money in Photo-Engraving,” 
and will print it in installments, as there is 
almost too much good matter contained in 
his address to warrant our using it all in 
one issue. 

Mr. A. W. Rathbun, treasurer Inland- 
Walton Co., was called away before he 
could deliver his address on “A Complete 
Cost-Keeping System,” and it devolved on the 
Secretary to read it to the Convention. 

THE NEW OFFICERS 

The new officers of the Association are as 
follows: 

H. C. C. Stiles, Maurice Joyce Engraving 
Co., Washington, President. 

Thomas Heath, Electric City Eng. Co., Buf¬ 
falo, Vice-President. 

George Brigden, Toronto Eng. Co., Toronto, 
Secretary. 

John C. Bragdon, John C. Bragdon, Pitts¬ 
burg, Treasurer. 

executive committee: 

H. A. Gatchel, Chairman, 

Frank H. Clark, 

George Meinshausen, 

L. F. Eaton, 

Geo. H. Benedict. 

STRAWRIDE TO TANNERSVILLE 

T HE seven hay wagons loaded with 
straw and piles of people which left 
the Hotel on the evening of July 6th for 
Tannersville, and over which genial “Doc” 
Bodenheim presided as chairman of the En¬ 
tertainment Commitee, was voted a huge 
success by all. 

Starting from the Hotel at about 8.30 P. M., 
the way to Tannersville, six miles away, lead 
through tortuous winding roads, up hill and 
dq,wn dale. Here and there the rays from the 
lanterns attached to the wagons would cast a 
fleeting shadow through the trees on the hill¬ 
side, and with but a slight stretch of the imag¬ 
ination it would be possible for one to conjure 
up the ghost of Old Rip Van Winkle stalk¬ 
ing along to guard his historical territory 
from the intrusion of non-respecting mor¬ 


tals. The bright moonlight lent added charm 
to the delightful ride. 

A short stop was made at the Savoy 
Hotel, in Tannersville, for music and re¬ 
freshments, after which the tired but happy 
“riders” were hauled back to the Kaaters- 
kill, arriving there at 1.30 A. M. 

Next day the Convention was an hour 
later than the schedule called for. 

LUNCHEON AT ELKA PARK 

O N July 7th, at noon, fifty-six people 
partook of the bounteous hospitality 
of Mr. Ferdinand Wesel, at his country 
place, Elka Park, eleven miles from the 
Kaaterskill Hotel. The typical German 
luncheon which he had served on the 
veranda of the club house of the park over¬ 
looking a beautiful valley with piles of blue 
mountains for a background was thoroughly 
enjoyed by all who participated. Mr. Stiles 
felt unequal to the task of thanking Mr. 
Wesel for his courtesy, and called on Mr. 
J. Clyde Oswald, who responded nobly. He 
said among other things: “that the engraver 
who had the good fortune to enjoy the 
hospitality of Mr. Wesel at his Elka Park 
place certainly should not begrudge his con¬ 
tribution to Mr. Wesel’s prosperity when 
he saw the substantial and practical use to 
which Mr. Wesel put his profits.” 

Mr. Max Levy, of screen fame (and in¬ 
cidentally Philadelphia Real Estate opera¬ 
tions) then made a few appreciative re¬ 
marks. Mr. Louis Edward Levy, inventor 
of the Levy Acid Blast and other pho¬ 
to-engraving paraphernalia, followed his 
brother, and finally President Stiles was 
moved to add a few heartfelt words of 
thanks. 

MR. MARATTA ON COLOR 

O NE speaker who was added to Presi¬ 
dent Stiles’ list was Mr. H. G. Marat- 
ta, originator of the Chromatoscope chart, 
the use of which has done so much to raise 
the use of color in the graphic arts from the 
realm of guesswork and individual bad taste 
to positive knowledge and the ability to se¬ 
cure subtle harmonies or harmonious con¬ 
trasts, without possibility of failure and with 
mathematical accuracy. 

Mr. Maratta discoursed learnedly on the 
spectrum and its relation to practical com¬ 
mercial pigments (oil and water colors and 
printing inks). He explained how it was 
now possible for the artist to work in either 
oil or water color, and for the engraver to 
match the colors with Philip Ruxton’s printing 
inks, and in turn for the printer to equal the 
results obtained by the engraver, the final re¬ 
sult of the printed sample equaling the artist’s 
original. 

Mr. Maratta has kindly consented to write 
a series of articles for “Photo-Engraving 


PHOTO-ENGRAVING ART 


i33 


Art, and in another part of this issue is 
the second article dealing with the spec- 
trum, substantially the same as the speech 
<iem ered by him at the Convention. 



H. A. Gatchel, 
Chairman Executive Committee, 
Gatchel & Manning, Phila¬ 
delphia, Pa. 


THE NEXT CONVENTION 

In all probability the next convention of the 
I. A. P. E. will be held at Chicago, and we 
already have assurance that Buffalo will have a 
big delegation present. The Electric Eng. Co. is 
booming the convention among the other local 
engravers. Get together, men, and prevail 
upon your neighbor to accompany you to the 
convention next year. If you organize locally 
you will be astounded at the ease with which 
your association will grow. 


Bissell College of Photo-Engraving, Endorsed 
by the I. A. P. E. Convention 

The Association endorsed the Bissell Col¬ 
lege of Photo-Engraving at Effingham, Ill. 

Many instances were cited by those present 
where the teachings of the institution had 
grounded the student in the fundamentals so 
well that, with a little active experience, he 
soon developed into a practical man—much 
quicker, it was claimed, than if he had “picked 
up" his trade through an extended apprentice¬ 
ship. 


SUPPLY MEN AT THE CONVENTION 


Many New and Some Staple Articles Exhibited by Enterprising Photo-Engraving Supply Houses 


M ANY supply houses took advantage of 
the opportunity afforded by the con¬ 
vention to display new goods in the room 
where the meetings were held. 

* * * 

Genial Charlie Mills, representing the F. 
Wesel Mfg. Co., of Brookljm, had a large 
board, about 7x5 feet, covered with engravers’ 
tools and accessories. In addition, lie had 
some samples of the Dr. Albert process elec¬ 
trotypes and a new patent base showing an 
improved method of clamping cuts and elec¬ 
trotypes, for both flat-bed and rotary presses. 

* * * 

The New York Engravers’ Supply Co., of 
New York, whose name is too confining, be¬ 
cause they are not only willing but anxious to 
supply engravers throughout the country, was 
represented by Harry Farquhar. He showed 
a new camera, a new style silver bath, and a 
strong printing frame which has some com¬ 
mendable points. 

* * 'M 

The American Shading Machine Co., of 
Buffalo, was represented by Mr. W. C. Gay. 
This company, which is well-known as manu¬ 
facturers of shading apparatus and mediums, 
have been successful in their endeavors to 
produce films which are unaffected by at¬ 
mospheric changes and are more transparent 


than the films heretofore produced. A very 
broad guarantee accompanies their new film. 
Another winner which this company handles 
is a film of extra large size—big enough to 
cover a whole newspaper page. The Ameri¬ 
can Shading Machine Companjr does not rent 
or lease its apparatus, but sells it outright. 

* * * 

Louis Edward and his son, Howard S. 
Levy, were on deck with many excellent sam¬ 
ples of line and half-tone work done on the 
Levy Acid ,Blast Etching Machine. Among 
the samples was a specimen plate etched by 
the machine, which Jahn and Ollier, of Chi¬ 
cago, took over from the Chicago Tribune. 
The plate was a beautifully etched line flat, 
with no sign of a shoulder or undercut—so 
deeply was this flat etched that, except for 
jumping out the separate cuts, routing was 
unnecessary. 

* * * 

Joseph Levy had a model of his improved 
process camera, without the telescoping stand, 
on exhibition. 

The essential principle embodied in this 
camera is that the half-tone screen, instead 
of being held in the plate holder, is con¬ 
tained in the body of the camera, and by 
a very accurately constructed mechanism is 
moved into its proper position by means 
of a lever guided by a scale. This move- 





134 


PHOTO-ENGRAVING ART 


ment is accomplished after the dark slide 
has been withdrawn and the screen with its 
carrier is moved to a position indicated by 
the scale, which position has been previous¬ 
ly determined by focusing the screen upon 
the ground glass. The great advantage of¬ 
fered by this construction is the absence of 
the screen from the plate holder while the 
latter is being moved from camera to dark 
room, etc., the greater facility with which 
the screen may be cleaned, and the fact 
that the screen is visible to the operator at 
all times other than during exposure. 

* * * 

“Doc”’ Bodenheim had “his” with him in the 
shape of many bottles of chemicals—not for¬ 
getting a sample of the famous “2,400 gallons 
of collodion which I sold on my last trip.” It 

sounds like a -, but then you all know 

the doctor. 

^ ^ ^ 

Mr. Max Levy had an improved circular 
screen for color work and a new style screen 
for the new Rembrandt Rotary Process. This 
screen differs from the ordinary one, in that 
the line is but one-third as wide as the space 
between the rulings and is transparent instead 
of opaque. On the regular screen the thick¬ 
ness of the lines and the distance between 
them is the same. In a future issue we will 
publish an explanation of the Rembrandt 
Rotary Process, which Mr. Levy says is des¬ 
tined to become the most rapid and econom¬ 
ical method for the reproduction of artistically 
printed results. 

* * * 

Mr. Herbert Royle distributed neat little 
router-bit holders, the use of which made it 
easy to hold the small bits so that they could 
be properly sharpened. 


Mr. W. J. Lawrence, of the National Steel 
& Copper Plate Co., of Chicago, motored all 
the way from Chicago to New York. From 
there he took the train to the Kaaterskill. 
His wife and daughter accompanied him in his 
automobile. 

* * * 

Mr. PI. Fisher, of the Star Engravers’ Sup¬ 
ply Co., of New York, arrived a little late, 
“but got there just the same.” 


COMPARING NEW YORK 

Herbert M. Bingham, of the Bingham 
Bros. Roller Company, of New York, was 
heard telling this story to a few of his 
friends the other day: 

“A New Yorker,” Mr. Bingham said, 
“died and went to his eternal home. The 
man walked around growling, as most New 
Yorkers do, finding fault with everything 
and saying that he couldn’t see that Heaven 
was much better than New York. ‘Why. 
say,’ he observed to a shade who happened 
to be near, ‘this place is all undermined 
with dynamite just like New York, and 
when you’re not being blown up you’re be¬ 
ing ground to death in some sulphurous 
subway or other. I don’t see the use of 
coming to Heaven, anyway.’ ‘Excuse me. 
my dear boy.’ said the shade to whom he 
was talking, ‘you have made a slight mis¬ 
take. This is not Heaven .’”—Printing Trade 
News. 


Senator Kittredge, at the request of the 
I. P. E. U., has introduced a short bill into 
Congress providing that copyright shall not 
be granted in the United States to publica¬ 
tions in which the illustrations are not 
printed from plates made in the PTnited States. 



Gorgeous view of the Catskill Mountains from the porch of Mr. Wesel’s summer home at Elka Park. 








PHOTO-ENGRAVING ART 


135 


A NEW THEORY FOR COLOR WORKERS 


rrichromy Without Moire Effect by Using the Schultze Screen, 60° 
By F. DOGILBERT, in “ Le Procede ” 


r I ''HE parallel that we propose to show 
between the ordinary cross-lined screen 
and the Schultze screen at 6o° takes into 
account by the use of the latter new results 
which we have elsewhere practically tested. 



Fig. 1 represents the smallest group of 
elements of the screen image encircling one 
of these elements; we will call this, for con¬ 
venience in explanation, a positive system; 
under the same conditions we will consider 
Fig. 2 as representing a negative system. 
Figs. 4 and 5 show us the arrangement of 
dots obtained by superposing the three 
screens inclined about 30° over each other, 
and rotating them around an axis either of 
a positive or negative system. 

The normal use of three colors in poly¬ 



chrome printing demands a division of the 
circle into three or multiples of three for 
the respective positions of the different 
screens. The Schultze screen seems, by 
rights, best able to accommodate itself to 
this condition, since the image it gives, when 
used normally, has its dots in straight lines 
following three directions at 6o°. 

If we consider, as before, a positive system 


of elements (Fig. 5) and a negative one 
(Fig. 6), we notice that the rays which join 
the centre of rotation to the centres of the 
elements are equal in both systems, while 
they are unequal in the case of the ordinary 
cross-lined screen. If we should superpose 
three blocks made by means of the Schultze 
screen after successive rotations at 6o° 
around the centre of an element either posi¬ 
tive or negative, all the elements would be 
superposed three by three, which would be an 
eminently defective arrangement; the proper 
and ideal distribution of colors should be 


\ 1 



made by juxtaposition and not by super¬ 
position, the first arrangement always giving, 
by reason of the faint transparency of the 
pigments used, a duller tone than the second, 
which only combines the sensations trans¬ 
mitted separately by each color. If we make 
successive rotations by moving to a sufficient 
extent the centres of rotation of each screen 
we obtain the arrangement of dots shown in 
Fig. 7, in which the three centres are placed 
in evidence in the interior of a small com¬ 
mon circle, and the movements by the over¬ 
lapping of the three arbitrary circles which 











































136 


PHOTO-ENGRAFING art 


we have se¬ 
lected from 
each screen. 
Such an ac- 
centuation 
should be reg¬ 
ulated once for 
all in the case 
of a circular 
screen, but 
should be 
worked out 
for each op¬ 
eration in the case of a rectangular screen; 
this being more practical and economical to 
use, we show below by means of movements 
which are most easily applicable to this case. 


and, when needed, by a very slight trans¬ 
verse shift made at the time of printing with¬ 
out any injury to the register, the extent of 
this shift being much less than the admissible 
error of register of the different forms, these 
different means permitting the distribution of 
the dots similar to that shown in Fig. it. 

We can also entirely abstain from all shift¬ 
ing of the screen during the negative-making 
for each monochrome on condition of doing 
this shift during the printing under the con¬ 
ditions indicated in Fig. 12. To give some 
idea of the smallness of this shifting let us 
point out that for a screen having sixty lines 
to the centimetre each of these shifts, ver¬ 
tical and horizontal, is less than one-tenth 
of a millimeter. 



The importance of this shifting should, 
however, be 
again insisted 
upon as shown 
in Fig. 8, which 
groups in one 
part the three 
impressions ob¬ 
tained respec¬ 
tively by rota¬ 
tions in the in¬ 
dicated orien¬ 
tations with a 
special d i a- 
phragm, and in 
A sho w s the 
effect of the 
superposition of 
the three by 
three, while in 
B, thanks to the shifting, they are juxta¬ 
position. 

We see by Fig. 9 that it would be sufficient 
if we employ a vertical shift of equal ampli¬ 
tude for each of the screens in thirds of the 
distance which in one or other of the screens 
separates two such points as a and a'. 
Fig. 10 shows the distribution of dots re¬ 
sulting from this shifting. The use of such 
an arrangement jointly with the elongation 
of the dots of each screen image following 
a predominant direction would unhappily 
cause the vertical parasitic lines we are to 
consider in a certain measure as appearing 
to form a moire pattern; this inconvenience 
can be avoided by using proper diaphragms 



Fig. 13 shows one above another different 

shapes of dots 
obtained with 
the S c h u 11 z e 
screen and us¬ 
ing correspond¬ 
ing diaphragms ; 
finally the last 
line shows the 
collection 
of dots result¬ 
ing from these 
arrangements in 
the finished tri¬ 
color image. 
The profiles of 
diaphragms a to 
g are the result 
of exact geo¬ 
metric calcula¬ 
tions and have nothing fancyful, although 
appearing so; the elongation of the dots 
following the predominant lines without 
affecting the result. The shapes presented by 
the inventor of the 6o° screen, without being 
useless, do not fully satisfy the demands of 
three-color work. 

The three shapes a, a' 
and a" of diaphragms, giv¬ 
ing the shape of dot yield 
the ideal distribution of the 
three colors shown in A; 
the shapes b to e give 
elongated dots which do 
not give the moire by ro- ! 

tations at 6o°; shapes f Fig. 9. 


OJ> 

/ 1 V 

/ •F 

o 3 /:\ o----« 
XttX 


•-Vt 


U‘ fVL— e 









PHOTO-ENGRAVING ART 


i37 



and g are the most advantageous, as they 
elongate the dots in the direction of one of 
the lines of the screen, but we have also 
obtained excellent results with shapes d and e. 

To sum up, there is nothing to prevent 
using 6o° screens for three-color printing, 
the advantages of using them, besides the 


qualities belonging to these screens, being the 
absolute suppression of moire and the possi¬ 
bility of working the whole set with a single 
screen, usable also for work in black, by sim¬ 
ple rotation of the diaphragm and impercep¬ 
tible shift of the form during the printing.— 
The Process Engravers’ Monthly. 




POINTS O0T£M<y 


\ 


♦ 



Fig. 13. 





• % * 




PAYNETYPE BY ONE WHO HAS TRIED IT 


To the Editor:— 

In your interesting article on the Payne- 
type direct method of photo-engraving in the 
May-June number of Photo-Engraving Art 
you present some objections to this new pro¬ 
cess on which we would agree, only that Mr. 
Payne was kind enough to forward me some 
of his plates, and I have tested them prac¬ 
tically. 

The value of Paynetype to the newspaper 
demanding rush news illustration is this: The 
news photographer will make his snapshots 
as at present, and develop them. Instead of 
throwing up a Velox enlargement, he will, 
from the wet negative, make his positive en¬ 
largement direct on a Paynetype zinc plate. 
Then, by simply developing, hardening, and 


washing in hot water, his zinc plate is ready 
for etching. 

Your space is too valuable to give an ac¬ 
count of the great saving of time I find can 
be had with Paynetype; suffice it to say that 
I have prepared a half-tone in six operations 
for etching by this new invention which re¬ 
quires 34 operations by the usual methods. 

Should any of your readers want to know 
more about this new engraving process, I will 
answer their queries if they send a stamp for 
reply to my home address, Box 181, Glen 
Ridge, N. J. 

Sincerely yours, 

S. H. HORGAN, 

Editor, “Process Engraving,” Inland Printer. 


































■38 


PHOTOENGRAVING ART 



^ublisbrb iflnutlihi in tljr Slniprcsta nf ifflakrrs mtl> Ulscra 
of |Jl]ottt-lEngrauinij 

FRED J. WILLOCK.EDITOR. 

THE HILLSIDE PRESS 

Publishers, 

Richmond Hill, New York. 

To insure the return of unavailable manuscript re¬ 
turn postage should be enclosed. 

Subscriptions—United States and Canada, $1.00 per 
year, single copies io cents. Foreign countries, 
$1.50 per year, single copies 15 cents. 

JULY-AUGUST 


PROFIT 

In his address to the Convention of 
the International Association of Photo- 
Engravers, Mr. N. S. Amstutz struck 
the keynote of success, of not only the 
engravers, but nearly every other busi¬ 
ness house where the “boss” comes into 
frequent close contact with his custom¬ 
ers, and that is: “the false pride or mod¬ 
esty which makes one ashamed to ad¬ 
mit that he is going to make a profit 
on your work.” 

The quicker you make up your mind 
that you must make a profit on every 
piece of work you handle, and know 
from previous records at what point in 
the price your profit begins , the quicker 
you will enjoy being in business for the 
pleasure of making money and stop 
working just for the joy of keeping busv 
paying your debts. 

The engraving game is getting harder 
every day, and the houses which are 


making a profit all down the line arc 
the ones which will grow. The life 
of the indiscriminate “price-cutter” is 
measured only by his endurance and 
ability to take punishment. If lie suc¬ 
ceeds it is only because he is made of 
the stuff which was intended for better 
things, and if he hadn’t got the wrong 
prospective when he started he would 
have been a more successful man with 
considerably less effort. 

- » -- 

Photo-engraving is always made to order, 
and there is never an opportunity to have 
a misfit sale in order to recover cost of pro¬ 
duction on make-overs, as it would be only 
about once in a million that a wrong size cut 
of your machine would be available for my 
use. Therefore, it behooves you to demand 
explicit instructions as to size, style and 
screen, even if time is lost in getting the 
desired information. 

More zinc plates are now being used in 
lithography than at any time in the history 
of the business, and they are giving uni¬ 
versal satisfaction. As the sale of zinc 
plates goes up, the sale of stone naturally 
decreases. The printing surface of the fu¬ 
ture will be the metal plate. 

- $ - 

The Margo Law of Color, invented by 
H. G. Maratta, consists essentially of pig¬ 
ments compounded and arranged in har¬ 
monious relationship to natural or spectrum 
color. Heretofore, as far back as modern 
knowledge extends, it has been the practice 
of manufacturers of prepared pigments, 
printing inks, dyes, etc., to compound and 
market their products without calculating 
the relationship to natural color, or each 
other. Philip Ruxton, Inc., 290 Broadway, 
New York, are the first to take up Mr. 
Maratta’s ideas and manufacture printing 
inks, as well as oil and water colors for 
artists’ use, and also the Chromatoscope 
Chart, according to the Maratta Law of 
Color. Mr. Maratta has consented to write 
a series of articles for Photo-Engraving 
Art that should prove of great value not 
only to the engraver, proofer and pressmen, 
but to all students of color. 

















PHOTO-ENGRAVING ART 


i39 


NOTES ABOUT ENGRAVERS 

Photo-Chromotype Engraving Company, 
of Philadelphia, will shortly move into new 
quarters. 

* * * 

h. A. Ringler, the New York engraver 
and electrotyper, is traveling in Europe 
during the summer months. 

sfc 

The Marier Engraving Company, former¬ 
ly of 215 Kearny street, is now located at 
251 Kearney street, San Francisco. 

* * * 

The Chicago office of the National Steel 
and Copper Plate Co., formerly at 102-110 
West Jackson Boulevard, is now located 
in the Pontiac Building. 

* * * 

ihe Jurgens Bros.’ Company, engravers, 
of Chicago, have moved to 167 Adams 
street, being now located in the two top 
floors of a first-class new building. 

* * * 

As soon as a satisfactory site can be se¬ 
cured the Alabama Engraving Company, of 
Birmingham, Ala., will install a new and 
complete plant, including stereotyping and 
machinery. 

* * * 

The American Label Works, of Nashville, 
Tenn., have decided to manufacture every¬ 
thing necessary to their work, and have 
therefore added a complete photo-engrav¬ 
ing plant. 

* * * 


is now filling orders for 600,000 three-color 
picture post cards, mostly scenic, which will 
be delivered within the next few months. 
It also has orders for 50,000 souvenir fold¬ 
ers in colors for Chicago, 20,000 for Niagara 
Falls. 

* * * 

Some few months ago, William G. Will- 
man, paper dealer, New York, offered $50 
in prizes for the best ideas typographically 
displayed on samples of Continental Bond, 
emphasizing several features of that paper. 
Prizes have been awarded as follows: First 
prize, Mr. Charles N. Wheelwright, Rich¬ 
mond Hill, N. Y.; second prize, Mr. Walter 
B. Gress, of Hill Publishing Company, 505 
Pearl street, New York; third prize, Thom¬ 
son Printing Company, Philadelphia, Pa.; 
fourth prize, Globe Printing Company, 7 
Dutch street, New r York; fifth prize, Mr. 
John E. Stewart, Springfield, Mass. 


rti<5t/s Card<> 


Under this heading we will print each month a 
number of artist’s cards. Rates on application. 



CHARLES OGDEN 

PHOTORLTOVCHING 

t°Tc HIGHEST GRADE 
1004 CHESTNVT .STREET, 



St.: 


PHILADELPHIA. 


PENNSYLVANIA. 


■ M ■■■■■■ MM ■ ■ M ■ ■ 


V. G. Hagopian purchased the Thorpe 
Engraving Company, of New York, and is 
putting new life and capital into the busi¬ 
ness. He has made a number of additions 
to the plant. 

* * * 

The Manz Engraving Company have sent 
out a unique “Fans’ Calendar,” which is a 
beauty and is an effective advertisement. 
The Chicago playing days are shown in 
colors. The calendar covers the season 
only. 

* * t 

The James Bayne Company, engravers 
and printers, of Grand Rapids, Mich., will 
enlarge their plant during the summer, by 
adding a story to the building now occu¬ 
pied as a pressroom. The company has 
been in its present quarters for the last 
nineteen years and has enlarged its plants 
annually with one exception. Ihe company 


HELP WANTED 

High-Class Photo Engravers who can de¬ 
liver. Write stating experience, habits, salary 
expected and where last employed. Box 12, 
Photo-Engraving Art. 



Jo reach the port of 
results in ADVERTISING 
you must have a skilled 
7 ARTIST the wheel 

GRANT WRIGHT 

DESIGNER & ILLUSTRATOR 

v 4 vvWvwc \Vv\\X\w«. 


PAUL PHILIP GOOLD 

GENERAL ILLUSTRATING 

Specialist on Army and Navy Matters 

Tel. 1630 River. 2314 BROADWAY, N. Y. 


JOHN J. HOFF 

PHOTO-RETOUCHER ILLUSTRATOR 
DESIGNER 

Tel. 3120 Gram. 27 EAST 22d ST., N. Y. 

















140 


PHOTO-ENGRAVING ART 



nicely retouched and carefully finished automobile halftone from The Central Engraving Company, Cleveland, Ohio, 



























PHOTO-ENGRAVING ART 


141 


A COMPLETE COST-KEEPING SYSTEM 

Address Read to the Convention of the I. A. P. E. 

By A. W. RATHBUN, 

Treasurer, Inland-Walton Company, Chicago 


r HE subject assigned to me by your 
genial President is one that I am very 
much interested in, and one that for the 
past five years I have been trying to make 
a practical application of in both the print¬ 
ing and engraving business, but it is so 
large and has so many different divisions 
that it is only possible to consider it in a 
general way at this time. 

When the subject of an accounting system 
was first suggested to one gentleman who 
opened up an engraving plant he doubted 
if such a thing could be attached to an en¬ 
graving business—had never known of it 
being done and did not understand what 
there was to get the cost of, as he had al¬ 
ways understood that if you paid out for 
labor, material and expenses four thousand 
dollars in a month and you sold forty-five 
hundred dollars’ worth of engravings you 
must make five hundred dollars, and that 
was the only accounting system he had ever 
heard of in the engraving business. What 
kind of work was most profitable, what 
work, if any, was done at a loss, what pro¬ 
portion of a job was labor, what was ma¬ 
terial and shop costs, and what relation did 
the office and selling expenses bear to the 
finished product when it left the work 
rooms, all these were entirely unknown 
quantities and seemingly it was considered 
too much of a bother to try to find out 
what they were. 

The great aim of those employed in 
selling engravings seems to be to get the 
or d er —if the solicitor can not get it at what 
he considers the price should be, then take 
it at or below your competitor’s price, but 
get it anyway. If there is any question 
about a charge for extras on account of 
retouching, special outlining, etc., give the 
customer the benefit of the doubt, as other¬ 
wise you may lose the job, and if the price 
is a little low still the solicitor knows that 
his house has no means of getting at the 
exact cost of the finished job and it will 
help his total sales, upon the showing of 
which he expects a salary increase soon. 


also keep the shop busy, and even if his 
house should lose a little on this particular 
job they will make it up on something else. 

And now, gentlemen, to be perfectly hon¬ 
est with yourselves, how many of you have 
in your establishment an accounting system 
that will enable you to check up your so¬ 
licitors’ jobs so that you will know posi¬ 
tively if you have made or lost money on 
each and every order? 

To get at the proper selling price for 
your product the first thing necessary is to 
get at the cost price, not what you guess it 
cost, but what the figures show it costs. 
Hence the effort to find and put into use a 
proper cost accounting system. 

Your President has attempted to flatter 
me by making the title of the subject as¬ 
signed to me “A Complete Cost-Keeping 
System.” Now, the system we use is not a 
perfect one, but it is the best one we have 
been able to find, and we are going to*con- 
tinue to use it until we can find a better one. 

The different headings or branches of a 
system may be put under the following 
divisions: Labor, Material, Fixed Shop 

Charges and Office expenses. All produc¬ 
tive labor can be charged against each job 
as it goes through the shop as one labor 
item, but we have seen fit to separate it as 
follows: Art, Photo, Printing, Half-tone, 
Line Etching and Finishing. These can be 
arrived at quite accurately by using a daily 
time report for each workman and trans¬ 
ferring the figures to the job tickets the 
next day, the troublesome item here being 
the matter of idle time; and the question 
being: Should the price per hour charged 
on the job be increased over the amount 
paid to the workman to absorb the idle time 
that is unavoidable, or should the charge 
on the ticket represent the exact amount 
paid the workman and the idle time be ab¬ 
sorbed in the percentage provided to cover 
cost of material and fixed charges? 

Part of the materials can be correctly 
measured and charged on each job, but 
there is a proportion which cannot be so 



142 


PHOTO-ENGRAVING ART 


charged, particularly the chemicals, inks, 
etc. We have been figuring a percentage 
to cover cost of materials in each depart¬ 
ment, together with the cost for fixed 
charges, which includes the proportion of 
Superintendents*, Janitors’ and Boys’ 
Wages, also Depreciation on Equipment, 
Insurance on Equipment and sundry minor 
expenses, including oil, repairs, etc. 

Having charged the job with the labor 
that belongs to it and a percentage on that 
labor to equal the cost of material and such 
other items as are enumerated in the pre¬ 
ceding paragraph, and added them to¬ 
gether, you have a total which represents 
the cost only. If it has been necessary to 
purchase items for a job, such as a draw¬ 
ing or a photograph taken outside or some 
printing done, these should be added to the 
shop cost. 

Now you have an item to provide for, to 
wit: Overhead expenses, comprising Rent 
(also light, power and heat where same is 
not included in the rent), Delivery 
Charges, Advertising, Salaries of Officers, 
Solicitors and Office Help and incidental 
office expenses. The cost of the job as it 
leaves the work room is not the cost of the 
job to your firm. Each piece of work must 
bear its proportion of overhead expenses. 

I believe the percentage plan must be used 
for a proper solution of this—add to the 
shop cost of each job a percentage that will 
equal all of the overhead expense items. 
As an example, we will suppose that the 
labor for a month in an engraving plant is 
$2,000. and the material used $1,000. mak¬ 
ing the shop costs on the month’s work 
$3,000. The Rent, Office Salaries and 
Office Expenses for the month are $750. 
This equals 25 per cent, of the shop cost 
of your product and makes it necessary to 
add 25 per cent, to the shop cost of each 
job to find the entire cost of the job. For 
instance, a job upon which the shop cost 
was $40 would cost, with its proportion of 
office costs added, $50. Now add to the 
$50 what you think you should have as a 
profit for the risk of conducting a busi¬ 
ness, or if you are doing business “just 
for fun” sell it at $50 or less. 

Do not be misled by the idea that the 
percentages mentioned heretofore are items 
of profit, for if correct they are not. but 


represent actual outlay of cash, for which 
you must have a return on the goods you 
sell. First find your cost and then add your 
profit, and it might be added that if you 
start out with the fixed idea that you must 
try to make a profit on each piece of work 
you handle, “The chase by the sheriff will 
always be a stern one.” 

As an example of the method of showing 
the costs by departments I submit the fol¬ 
lowing examples: 


Example I 
Minimum Zinc Cut 


Art Dept.Labor 

*D. & G.20% 

Photo Dept.Labor. .11 

D. & G. 70% .08 .19 


Printing Dept. , . . Material 

Labor. .12 

D. & G. 25% .03 .15 


Half-tone Dept. . . Labor 

Line Etcher.Labor. .08 

D. & G. 55% .04 .12 


Finishers .Fin. Labor. . .42 

D. & G. 30% .12 .54 

Outside Bills. 


Total Labor and Material.... $1.00 

Office Sundries.33 1-3% .33 

Express . 

Car Fare. 

General Expense. 8% .08 

Com. and Discount. 


Total cost. $1.41 

Gain . 

Loss . .91 


Amount of bill. .50 


Example II 
3 Half-tones 


Printing Dept. 


Half-tone Dept. 


Outside Bills. 

Total Labor and Material.... 


D. & G_ 

Labor.. 

• 20% 

• 77 


D. & G. . . . 

. 70% 

•54 

$1.31 

Material 

Labor . 


•33 


D. & G. . . . 

• 25% 

.08 

.41 

Labor . 

90% 

1.06 

•95 

2.01 

Labor 

D. & G. 

Fin. Labor. . 

• 55 % 

•73 


D. & G. . . . 

• 30% 

.22 

•95 


$4.68 


Office Sundries.33 1-3% 1.56 

Express . 

Car Fare. 

General Expense. 8% .37 

Com. and Discount. 


Total cost.. 

Gain . 

Loss . 

Amount of Bill 


$6.61 

4.49 

$11.10 


* 


Depreciation and General Expense. 




























































PHOTO-ENGRAVING ART 


H3 


Were it possible to turn out work for a 
month and then add all costs together and 
divide them according to the amount of 
work delivered before sending bills to your 
customer, you would not need to use per¬ 
centages, but as bills must be rendered 
promptly we must be governed by our ex¬ 
perience in past months for a basis in get¬ 
ting at the expense of producing work. 

One thing we have proven conclusively, 
and that is that the minimum cut idea, 
either half-tone or zinc, at the prevailing 
prices in our city, especially where run 
singly, are always losing jobs, and you can 
safely figure that you are losing on each 
one you deliver to a customer from 100 to 
300 per cent. 

Do not make the mistake of expecting 
that by putting in a cost accounting system 
you are going to make more money than 
you are making now unless you use the 
knowledge you obtain from such a system 
to weed out the unprofitable work and raise 
your prices where they are too low. 


One thing more, in conclusion, by way 
of caution: Do not attempt to run a cost 
accounting system that is not a part of the 
general bookkeeping department of your 
establishment, for it must be treated as a 
part of your general ledger accounts to 
make it authentic and reliable. 


CONVENTION OF THE E. P. E. A. OF 
AMERICA 

The Executive Committee of the Employ¬ 
ing Photo-Engravers of America met in De¬ 
troit, Sunday, July 25th. From reports which 
have been received from the various members 
a large attendance is expected at the coming 
convention to be held August 20th and 21st. 
The headcpiarters will be the association 
rooms, top floor of the Stevens Building, 
Detroit, Mich. Elaborate arrangements have 
been made and an interesting and instructive 
program has been outlined. There will be a 
special entertainment committee to look after 
the welfare of the ladies. 



Specimen Machinery Illustration from Baltimore-Maryland Engraving Co., Baltimore, Md. 



144 


PHOTO-ENGRAVING ART 


HINTS AND WRINKLES 

From "PROCESS WORK” 


Over-Iodized Collodion 

Here is a very useful “wrinkle” for the 
operator. The collodion will often get 
over-iodized, and when it is in that state 
it is usually useless for tone work until it 
can be put right again. Take a strip of 
zinc and thoroughly clean it with pumice 
powder so as to remove all the dirt and 
oxides formed by its contact with the air. 
Then place it in the collodion and watch 
the result. After a few hours it will become 
apparent that it is absorbing the iodides, as 
the collodion will begin to assume that yel¬ 
lowish tint, which the operator is so glad 
to see 


Copying Tintypes 

Occasionally an operator may have an 
old tintype photo to reproduce (generally 
they want them enlarged somewhat) direct. 
If he carefully wipes same over with a little 
vaseline and takes same through an Aescu- 
lin screen, or I per cent, solution of quinine 
sulphate, as for Chinese white, he will find 
it reproduce with a very much better re¬ 
sult. The vaseline brightens up the shadows 
and the filter eradicates a lot of the marks 
and stains usually found on same. 


To Reproduce a Very Flat Original 

If you told a good many operators to 
move one’s screen during exposure they 
would be, the least to say, shocked at the 
idea. But here is a wrinkle where it can be 
done to advantage. If you have a very flat 
copy to reproduce put the screen away half 
as much again, viz., supposing it is one- 
eighth away proper, put it three-sixteenths 
away, and expose very short so as not to 
touch the half-tones, then place your screen 
in its proper place and expose for half¬ 
tones in the ordinary way, and when the 
plate is developed you will have a negative 
with plenty of pluck in it instead of the flat 
one you would have got in the ordinary 
way. A little practice and you will be sur¬ 
prised at the nice crisp negatives you get 
from a flat subject. 


Scum on Negatives 

Operators are very often troubled with 
a scum over their negatives. Especially is 
this the case when a negative has to be 
forced up. The hot weather is also respon¬ 
sible for this trouble oftentimes. To pre¬ 
vent this, try first a few drops of acid in 
the silver bath, but should that be found of 
no avail the operator will find that he can 
overcome the difficulty by putting a little 
Nelson’s gelatine in the developer. Should 


this fail, there must be something radically 
wrong, and as a last resource I suggest a 
few drops of potassium cyanide solution in 
the bath. Of course, it will turn a milky 
color at once, and must be filtered. This is 
the best way for clearing a thoroughly bad 
bath. 


Acid For Line Work 

With regard to “Lineop’s” article in last 
month’s “Process Work,” I have never 
heard of operators washing their negatives 
15 minutes. Now if he, after intensifying 
with lead, flows a little nitric acid (1 to 40) 
over his negatives he would not even have 
to wait three minutes, but just rinse the 
lead off and flow over the above, and when 
rinsed again it is ready for blackening. 


HE KNEW 

Teacher—You have named all the domes¬ 
tic animals save one. It has bristly hair, it 
is grimy, likes dirt, and is fond of mud. 
Well, Tom? 

Tom (shamefacedly)—That’s me.— Cleve¬ 
land Plain-Dealer. 


CARLO 

NEGATIVE 

COLLODION 

No mixing — ready for use — 
never varying—superior to any 
that can be made in the shops. 
Price $2.00 per gallon, includ¬ 
ing containers. 

CARLO 

STRIPPING 

COLLODION 

Price $1.25 per gallon, includ¬ 
ing containers. 

A free sample of each sent to any 
address on request. 

R. H. LUTHHST 

Drugs ani> Chemicals 

191 BOWERY, NEW YORK 









PHOTO-ENGRAVING ART 


145 


THE FACT that there are now actually at 
work or on order 47 Acid Blast Etching Machines 
and 10 Etch Powdering Machines in the United 
States, and 21 Acid Blast Etching Machines and 8 
Etch Powdering Machines in Europe speaks for itself. 


The Graphic Arts Company 

Owning and Controling all Patents on Levy Etching Machines 

1221 Spring Garden Street 
Philadelphia , Pa. 


THE HALF-TONE 
PROCESS 

A Practical Manual of 
Photo-Engraving in 
Half-tone on Zinc, Copper, 
and Brass. With a Chapter 
on Th ree - Colour Work 

BY 

JULIUS VERFASSER 

Fourth Edition Fully Revised 


THE PROCESS 
ENGRAVER’S 
MONTHLY 

Edited by H. SNOWDEN WARD, F. R. P. S. 

T HE British representative 
organ of the process craft. 
Established 1894, and still 
leads as the medium of infor¬ 
mation on all new processes. 

PRICE, SIXPENCE NET 


Price, $2.50 

fr 'l" ‘ {? 7 : ' v * 

For Sale by 

THE HILLSIDE PRESS 

PUBLISHERS 

RICHMOND HILL, - NEW YORK 

• v-e 


ANNUAL SUBSCRIPTION— 

Great Britain and Canada, 6s. post free. 
America.$2.00 


LONDON: 

DAWBARN & WARD, Ltd. 

6 FARRINGDON AVENUE, E. C. 


Please say “Saw your adv. in Photo-Engraving Art. 



























PHOTO-ENGRAVING ART 


146 


(Continued from page 129.) 
rather than the so-called half tone, as 21 
3-10 is 1-12 of 256 the octave. 

By counting the so-called half tones e-f 
and b-c as one each, we have— 
c-d-ef-g-a-bc the harmonic number 6, the 
123456 diatonic scale. 

By placing sharps after c-d-f-g and a, 
we have the chromatic scale or the har¬ 
monic number 12. This harmonic number 
has been used by man perhaps before the 
Pyramids were built. All calculations on 
time, art, architecture and religion are 
based upon the odd and even in numbers, 
which comes about in a very natural way. 
Nothing can be more simple than to draw 
a circle with a forked stick or compass. 
Its diameter is approximately 1-3, its radius 
1-6 of the circumference. By connecting 
the points of the division three, we arrive 
at the first geometrical form or triangle; 
by connecting the other three, we produce 
the star (may this have any connection with 
the star the three wise men saw?). 

Again, a line drawn from the center 
through the points where the lines cross to 
the circumference divides the circle into 


12. Originally there were six signs in the 
Zodiac, when it was found that the moon 
had twelve phases! Twelve signs were 
placed in the Zodiac, hence we have the 
12 months, 12 hours, 12 tribes, 12 apostles, 
12 kings, 12 sounds, etc. But this is an¬ 
other study, and has to do with the har¬ 
mony of forms. It goes to show that har¬ 
mony is to be found in numbers, and if 
music, architecture, chemistry, religion, 
etc., have used it to good advantage, I see 
a good reason for applying it to the selec¬ 
tion of color harmonies, which will be 
taken up in the next article. 

GIVE THESE THEORIES A TRIAL 

A house which is a prompt collector and 
shows its customers thereby that their ac¬ 
counts, which constitute its business, are 
watched, will command more respect than 
the careless house and will invariably be 
paid first.— System. 

* * * 

By ability to collect is not meant the 
power to extract money from a refractory 
and unwilling debtor, but rather the ability 
to impress and train the debtor, willing or 
stubborn, in such a way that he will un¬ 
consciously get into the habit of paying 
promptly .—Syste m. 



Anything 


You 


Want 


Metals—Chemicals 
Supplies—for 
Plate Engravers 
Photo Engravers 
Electrotypers 
Photographers 


Standard goods at right prices. 
Manufacturers and dealers in 
metals, chemicals and supplies for 
the Graphic Arts. 

FACTORIES: 

341 to 349 West Lake Street, Chicago, III. 
220 to 224 TaafTe Place, Brooklyn, N. Y. 


:We are manufacturers of 


COLLODION BASE 

a permanent solution to be used as a founda¬ 
tion in making a negative collodion. 

Each gallon contains: 

Alcohol .... 64 oz. 

Ether ..... 64 oz. 
Caomium Iodide . . 106 gr. 

Ammonium Iodide . 106 gr. 

Negative Cotton . . 128 gr. 

'l ou can add ingredients to the above to 
make negative collodion of any formula de¬ 
sired. This is manufactured of 

Specially Denatured Alcohol 

made under the supervision of a United Slates 
government chemist. Bv your using this 
Collodion Base you take advantage of tax-free 
alcohol without the necessity of filing bonds 
and working under the supervision of the 
government. 

Cuts Down Alcohol and Ether Bills 30 % 

WRITE FOR PRICES 

National Steel and Copper Plate Co. 

358 Dearborn Street, Chicago, Ill. 














































PHOTOENGRAVING ART 


•47 


A Properly Conditioned Blade 

i runs true both edgeways and sideways, and 
has teeth of uniform length and style, **** evenly 

set, and perfectly sharp.” 

S UCH a blade cuts, and cuts, 
and cuts, and keeps on cut¬ 
ting, without damage to itself 
or the work. Furthermore, it cuts 
accurately. 

Hints on such matters will be 
found in our Saw Book. 

WRITE FOR A COPY 

JOHN ROYLE & SONS, paterson, n. j., u.s. a. 

Use Cutters that Cut—Royle makes that kind . 



WINSOR & NEWTON’S 

“Ipriv palpttp” 

(Francis A. Deck. New York City) 

For RETOUCHING and SPOTTING for 
Reproduction 

FIVE TINTS IN LARGE TUBES 



Goods bearing this trade-mark have received universal 
commendation for the past seventy-six years 

“ALBATA” Red Sable Brushes 
“BRITISH” finest ever made 

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For Process Reproduction 
IN LARGE BOTTLES 

WINSOR & NEWTON, Ltd. 

OF LONDON 

298 BROADWAY, NEW YORK CITY 

Our good* are *old by all art dealer* 



Underwood 

Escapement 


Is the Envy of Erery Typewriter Maker 

It is more correctly designed 
— costs more—is better 
made—and gives the 

UNDERWOOD 

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TYPEWRITER 

The originator of 
"writing-in-sight” construction 


a greater durability than 
any other Typewriter on 
the market. 

The perfection of the Underwood 
Typewriter has opened the field 
and invited our many specia 1 forms 
of “ built-in ” tabulators and 
modem book-keeping appliances. 



Please say “Saw your adv. in Photo-Engraving Art.” 






















Statuette six inches high, ivory finish 


THE KING OF SUCCESS 

IT DRIVES AWAY THE BLUES 
IT MAKES YOU AMBITIOUS 

WITH BWANA TUMBO ON YOUR DESK YOU’LL WORK 
DAY AND NIGHT, SMILING ALL THE TIME 

IT MAKES YOU WANT TO ACCOMPLISH THINGS 

JUST TO LOOK AT I T MAKES YOU LAUGH -TO LAUGH 
MEANS TO FORGET YOUR TROUBLES 

PRICE, $1.00 Agents Wanted 

STATUETTE SALES COMPANY 

420 TRIBUNE BLDG., N. Y. 


Please say “Saw your adv, in Photo-Engraving Art.” 













FREEHAND PERSPECTIVE 
AND SKETCHING 

By DORA MIRIAM NORTON 
Instructor in Perspective, Pratt Institute, Brooklyn, N. Y. 

TWO HUNDRED AND SIXTY-TWO ILLUSTRATIONS 

A series of exercises with explanatory text, so cov¬ 
ering the subject that following the course as di¬ 
rected gives the power to draw with ease and intel¬ 
ligence from object, memory and descriptions. 

A book of reference for artists and draughtsmen. 
Few technical terms employed and all clearly ex¬ 
plained. In the absence of a teacher a practical 
knowledge of the subject may be gained from this 
book alone. 

Price, $3.00 

FOR SALE BY 

THE HILLSIDE PRESS, 

RICHMOND HILL,.NEW YORK 


THE KIND OF PICTURES 
THAT SELL YOUR GOODS 

A Large 
GALLERY 

Expert 

Operators 

* 

Enlargements 
or 

Reproductions 

Silver Prints 

Telephone 

17SI Cortlandt 

•NEW YORK* 


Photographs 
that need the 
Minimum of 
Retouching 
& 

Fast Service 

High Quality 

Right Price 
** 

Indoor and 
Outdoor Work 



•PHOTOGRAPHER- 

8 2 WEST BROADWAY 







































DO YOU KNOW? 


DO YOU WANT TO KNOW 

Mr. Publisher, Mr. Art Manager, Mr. Advertising Man, 
Mr. Printer, Mr. Artist and Master Student ? 


The September Number of Pboto-Engraving Art will contain 
tbe first of a series of profusely illustrated articles on 

How Cuts are Made, 

Commencing with “Tbe Preparation of Copy." 

By FRED J. WILLOCK 


A Third Article on 

Color as Applied to Printing 

By the Famous Color Expert 
HARDESTY G. MARATTA 


Tbe first of a series of three articles on 

Science and Money in Photo-Engraving 

By the Photo-Engraving Research Expert 
N. S. AMSTUTZ 


An Article on 

Focusing Old and New 

Illustrated with Charts and Diagrams showing the advantages of 
Automatic Focusing. 

By ARTHUR FRUWIRTH 


To insure your getting all the above interesting articles send us 

ONE DOLLAR — 

To-day for a year • subscription 


THE HILLSIDE PRESS, Publishers 
RICHMOND HILL, N. Y. 














































g PECjAL J3FFER! 

Anyone sending VT receive all T} X? X? 

us a subscription d.^1 V.^ vV the back numbers X X'V. X~J 1~J 

This offer is limited to tbe number of copies now on band. 

To insure your getting a complete set, send us a dollar to-day. 

OUR POSITION 

(Reprinted from the Second Number) 


ENGRAVERS! 

Employers and employees! Photo- 
Engraving Art is your magazine. It is 
a magazine whose columns will be open 
to you at all times for the exploitation 
of samples of any exquisite results you 
may obtain; a place to air your ideas on 
prices or any other vital matter, to dis¬ 
cuss pro- and con such matters as can 
be discussed publicly between employers 
and employees. 

We intend to develop Photo-Engrav¬ 
ing Art so that it will be the recognized 
encyclopedia to which all users of en¬ 
gravings will turn when in search of 
information. 

It will become this authority quickly 
if given your support. 

5{«>jC5j<3j« 5 i {5 ( c5 i 55 l { 

You are all business rivals; wanting 
what you haven’t got, and getting what 
you do not want. You may each want 
all the business the other fellow has, but 
your actual interests are identical. You 
want business—but first of all need fair 
prices in exchange for honest work. 
This means the education of the user 
who does not, as a rule, appreciate the 
amount of effort necessary to produce 
cuts. Photo-Engraving Art is out for 
higher prices for engravers. 


If photo-engravers everywhere will 
give us the support we ask they will 
never have cause to complain of the re¬ 
sults which we will accomplish. 

Can you question the value to your¬ 
selves of a magazine of this character in 
which will be discussed the actual cost 
of the production of a properly made, 
cut; in which will be explained the nu¬ 
merous processes necessary to produce 
a cut? The reason for and the equity 
of the minimum charge, etc.? Of ne¬ 
cessity the printer who wants to know a 
good cut when he sees it; how to print 
it when he gets it, and what it ought to 
cost, will be an interested reader. 

We expect we will err often, and 
when we do we want you to set us 
right. 

The postal laws make it necessary for 
us to have a certain number of actual 
subscribers before the authorities will 
allow us second-class mail privileges. 
We must have second-class entry to be 
able to accomplish anything. 

Your dollar and subscription will help 
us to get it, and you will benefit 1 y it. 
SEND IT TO-DAY. 

The Hillside Press, Publishers. 


Date 

The HILLSIDE PRESS, Publishers 

RICHMOND HILL, N. Y. 

Enclosed herewith is one dollar. Please send 
PIlflttf-EugrattUtg Art to the address below for one year, com¬ 
mencing with the.number. 

Name in full 

Address in full 

No . 




















fHfntn-IEttgramttg Art 


Volume 1 


The Hillside Press, Publishers, Richmond Hill, N. Y. 

SEPTEMBER-OCTOBER, 1909 


Number 11-12 


CONTENTS 

Frontispiece, PEACE AND PLENTY. 150 

SCIENCE AND MONEY IN PHOTO-ENGRAVING 

By N. S. Amstutz . 151 

OUTING OF THE POWERS PHOTO-ENGRAVING CO. 154 

HOW CUTS ARE MADE, THE PREPARATION OF COPY 

By Fred J. Willock . 155 

COLOR AS APPLIED TO PRINTING 

By Hardesty G. Maratta . 159 

EDITORIAL—ENTERPRISE . 162 

FOCUSING, OLD AND NEW 

By Arthur Fruwirth . 164 

E. P. E. A. OF A. CONVENTION. 168 


Copyright, 1909, by The Hillside Press, Publishers 



Wesel has just issued a new “Catalogue of Phcto-Engraving Machinery and Appli 
ances,” which every progressive practical engraver should have. Send for it. It is 
the most complete ever issued. 

F \ A / I— r' I - I |V A r~/~* /''"'N MAIN OFFICE AND FACTORIES : 

W r Sr I |V| I" 70-80 CRANBERRY ST.. BROOKLYN, N.Y. 

NEW YORK- IO SPRUCE ST. CHICAGO: 329 DEARBORN ST. PHILA.: 712 MUTUAL LIFE BLDG. 


Please say “Saw your adv. in Photo-Engraving Art." 
































































Courtesy of Bausch & Lomb Optical Co., PEACE AND PLENTY. Copyright, ,906, by F. M. Locke, Victor, N. Y 

Rochester , N. Y. 
























195109 



publish ifflmttljltj tit tl|p 3 ntn**Bt 0 of HlakerH attb Iters of Illtolo-inutrmtUtg 


VOL. I., NO. n— 12. SEPTEMBER-OCTOBER, 1909 


SCIENCE AND MONEY IN PHOTO-ENGRAVING 

By N. S. AMSTUTZ 

In Three Parts—Part I. 


r I 'HIS craft has much to look back to on 
account of past achievements. However 
much the fundamental phases of the business 
have been practically recognized, there is a 
larger field in the future which will open to 
the widening touch of technical methods and 
the greater use of scientific procedure. This 
will lead the anticipation of your fondest 
hopes toward the realization of ethical, com¬ 
mercial, scientific and technical attainment. 

It is well that one can individually or col¬ 
lectively, as in the capacity of this organiza¬ 
tion, lay claim to that striking motto of 
modern Germania, under which she proudly 
aims to be in the vanguard of the world’s 
progress. “Vorwarts, immer vorwarts”— 
Onward, always onward. 

The subject, “Science and Money in 
Photo-Engraving,” is an all inclusive one, 
for it is impossible to consider any phase of 
the profession without encountering either 
a scientific or monetary question. It must 
be related to much or little science, or again 
to much or little money; thus it is apparent 
that whether more or less of one or the 
other is found in the daily exemplification 
of the business it is only a variation in de¬ 
gree and not one of classification. 

There has come to be a serious misunder¬ 
standing as to the import of the words sci¬ 
ence and scientific.” 1 he layman looks upon 
everything of this kind with a certain awe 
as being quite beyond his ken. In the first 
place he errs in considering science as re¬ 
lating only to theoretical aspects of a given 
subject. In the second place a still greater 
error is found in the assumption that only 


centers of learning with elaborate appoint¬ 
ments can or perforce are legalized by cus¬ 
tom to be allowed to call themselves scien¬ 
tific and to stand for the only exemplifica¬ 
tion of science. Likewise there is a miscon¬ 
ception of the monetary aspect of the mat¬ 
ter, for the monetary value has not alone 
to do with what is called dollars and cents, 
pounds, shillings and pence, marks, pfen¬ 
nigs or francs and centimes, but with that 
higher phase of all effort, human interest. 

Any proposition shorn of this element may 
for a time show much on the right side of the 
ledger, and may even in a semi-automatic 
manner continue to produce a tangible bal¬ 
ance of profit, yet in spite of all the direct¬ 
ing that pure and undulterated system may 
apply, if there is not the leaven of human 
interest, individual and collective, the whole 
movement will shortly become top-heavy 
and at no distant day crumble and fall, carry¬ 
ing with it the hopes of those who stood 
sponsors for its continuation. 

This element of human interest is one of 
the most valuable assets that any business 
can possibly have. In fact it is so commonly 
considered a necessary qualification that its 
existence is generally assumed, but very 
seldom known. So much is made of the 
tangible that the subtle and all pervading 
touch of human interest is lost sight of in 
the rush of modern commercialism. 

The fundamental aspect of this part of the 
question applies with equal strength to the 
proprietor and the craftsman, and when co¬ 
existent with both it must inevitably produce 
the very highest type of industrialism. 


















152 


PHOTO-ENGRAVING ART 


Its absence is found, in the case of the 
proprietor, to produce a driver, a mercenary 
who is bent on grinding out the last vestige 
of effort from those on whom the continuity 
of his enterprise inevitably depends, so as to 
add farthing on farthing of monetary gain 
regardless of the vital element of perpetuity. 
On the part of the craftsman its absence is 
found to develop the clock-watcher, the 
derelict who simply drifts, becoming a men¬ 
ace to all others who need to steer their 
ships of daily effort with continuous applica¬ 
tion through the seas of difficulties and 
problems of one kind or another with a 
steady helm and the rigging in the best or¬ 
der, so as to sail through the practical and 
technical difficulties with the satisfaction that 
“work well done” inevitably brings. 

When this co-ordination of interest and a 
genuine loyalty of man to man exists, the 
proprietor may know that those on whom 
he depends for commercial success have the 
details of the business at heart, and con¬ 
versely the craftsman will realize that his 
efforts are appreciated, and both will know 
that they are absolutely essential to each 
other in the making of a “going concern.” 

Reverting to the scientific aspect o( 
things, let us look into the matter in detail 
and ask, what does science mean? What 
does it stand for. Primarily it stands for 
method, order, regularity, etc. 

The highest authorities say that science 
in its most comprehensive sense only means 
knowledge, and in its ordinary sense means 
knowledge reduced to a system or, in short, 
classified knowledge. One may have bushels 
of information, but little knowledge, and no 
science, because the information is not avail¬ 
able, cannot be used to any advantage, for 
as has been noted, classificatiort is absent. 
This is the difference between being scien¬ 
tific and unscientific, hence a jumble of facts 
and materials simply stands for psychical 
and physical disorder. 

As soon as order, method and definite ar¬ 
rangement is introduced the procedure be¬ 
comes scientific because of these very steps 
and not through the exercise of some occult 
or mysterious influence having an inherently 
superior potentiality. 

From this it will be seen that every phase 
of the production of illustrations must, and 
inherently is scientific to the extent that it 


complies with these fundamentals, and there 
is no aspect of the craft, personal or imper¬ 
sonal, that does not come under this desig¬ 
nation. 

Let us at this point note that as “time is 
money” the conservation of mental and phys¬ 
ical effort, if done systematically, must per¬ 
force be valuable in the twofold sense of 
science and money, from which is found the 
justification for selecting the title of this 
address. 

In considering a concrete example let us 
in the first instance suppose that one is con¬ 
templating the establishing or expansion of 
a photo-engraving business, he must be sci¬ 
entific at the very outset if he has any hopes 
of making any money at all. He must con¬ 
sider in regular sequence: 

ist. The demand for business in the proposed loca¬ 
tion—section of country, etc. 

2d. The capacity of the plant for immediate use and 
allowance for future expansion. 

3d. The required investment to put into effect the 
plans made. 

4th. The selection of a staff to man the enterprise. 
5th. The procuration of the necessary materials and 
supplies. 

6th. The organization of the clerical details neces¬ 
sary to record the daily transactions. 

Supplementary to this is found the neces¬ 
sity of arranging for the following: 

1 st. A proper compensation for daily supervision 
and the necessary administration. 

2d. An adequate basis of compensation for the op¬ 
erative force. 

3d. An efficient and economical administration of 
the materials and supplies department, also 
comprising the required power arrangements, 
light, sanitation, etc., etc. 

From and through the proper co-relation 
of these divisions there must result: 

ist. A reasonable interest return on the whole in¬ 
vestment. 

2d. An additional earning, at least 10 per cent., to 
cover depreciation of machinery, plant, etc. 

3d. An additional earning to cover the retirement of 
the money invested within a given time. 

4th. The establishment of a reserve or contingent 
fund to meet extraordinary exigencies. 

The various divisions just listed show the 
different phases of every photo-engraving, 
or for that matter every business undertak¬ 
ing, and the list enables one to see just 
what must be provided for. In the main 
the details of all photo-engraving establish¬ 
ments are practically the same. Zinc must 


PHOTO-ENGRAVING ART 


153 


be bought as well as copper. Wood, chem¬ 
icals and apparatus, comprising cameras, arc 
lamps, lenses, screens, sensitizing baths, 
planers, edgers, bevelers, routers, proving 
presses, grinders, motors, etching troughs, 
heaters, etc., etc., must be procured. All of 
these and many minor matters are necessary 
before ever an engraving can be turned out. 

The cost of all the features enumerated 
must be covered proportionately by the 
selling price of the engraving because of 
being ready to execute one or a thousand 
orders, and they cannot be overlooked even 
though the proportionate cost per order 
is obviously a largely varying one. 

A correct handling of the details of ac¬ 
counting is a phase of the business that 
requires specialized scientific treatment. 

There is just as much science in the care¬ 
ful analysis of costs of all kinds all the 
time, and the profits now and then, as there 
is in the consideration of the most complex 
problems in mechanics, electricity, chem¬ 
istry or astronomy, for what is accounting 
without system, method or order? It com¬ 
prises a definite relation of costs to profits, 
a detailed listing of various minor costs 
with respect to larger ones, and these in 
turn with the output or the business “turn¬ 
over,” the relation of labor, the costs of 
chemicals, of supplies used in a given time 
to the total output. The administrative 
charges, the maintenance charges and the 
fixed charges to the annual total of all in¬ 
voice items, etc. All of this is included in 
the office part of an undertaking, and in the 
main it is absolutely essential to know the 
subdivisions mentioned and in many cases 
recognize others as their need may arise 
from time to time. 

A most valuable adjunct in this field is 
found in what may be called a “business 
barometer,” which will show the features 
of any business in weekly, monthly, semi¬ 
annual, annual or other periods. The great 
importance of this plan is found in the fact 
that the trend of events is instantly shown 
and any given period can be immediately 
compared with any other in a moment and 
existing variations noted immediately, thus 
the manager can see graphically, day by 
day, how the business is proceeding. This 
“barometric” record is made up of total 
values supplied by the accounting depart¬ 


ment, and as it deals with totals, the man¬ 
ager is not troubled with specific details 
until some decided trend in the graphic 
curve record just what part of any depart¬ 
ment requires attention. 

As an accessory to modern accounting 
this method will show pictorially in the 
most conclusive manner the condition of 
any business that is “pictured” in the tech¬ 
nic 'of graphic curves, its great value lies 
in the fact that the relation of all the fac¬ 
tors, or as many as are desired, are seen 
at once. The trend of events is foretold 
in the most positive “language.” 

This is the kind of information that the 
busy man needs and wants—something on 
which he can prognosticate future even¬ 
tualities with a fair margin of probability. 

If he wants to see the future in the light 
of the present and the past, under the as¬ 
sumption that existing conditiqns will re¬ 
main the same, he can with great definite¬ 
ness foretell what their continuation will 
bring forth in one, two or three months, 
or even a whole year in advance. 

One of the managerial advantages of this 
method lies in the fact that the broad gen¬ 
eral relation of the various items are shown 
without the laborous use of exacting mi¬ 
nutiae of details. It is quite remarkable 
how pointedly the information is given so 
as to be recognized at a glance. The rap¬ 
idity and compactness of the method should 
commend itself to the busy proprietor who 
desires to know the “lay of the land” with 
respect tO' his business. 

The purely physical record may be ex¬ 
pressed in any desired nomenclature so that 
the photo-engraver may use square inches, 
or pounds of copper and zinc; ounces, 
grains or grams of the more expensive 
chemicals. Gallons of etching solutions, 
etc., and the time when made up SO' that if 
co-ordinately a record of the specific gravi¬ 
ties are marked alongside of the square 
inch output it will at once be apparent how 
much the output changes with the weaken¬ 
ing of the baths, etc. Numerous other in¬ 
terrelated factors can be readily ascertained 
if marked day by day. When the trend of 
events is unfavorable it is time enough to 
make specific inquiries and consider detailed 
items of daily procedure. 

(To be continued.) 



Outing of the Powers Photo-Engraving Company, N. Y., at Seacliff, L. I., August 22, 1909. 











PHOTO-ENGRAVING ART 

HOW CUTS ARE MADE 


i 55 


First of a Series of Articles in Which There Will Be Much Valuable Information for the 

One Who Buys and Uses Engravings 

By FRED J. WILLOCK 


The Preparation of Copy for Reproduction 


r PHE preparation of copy for reproduc- 
tion by the photo-engraving process is 
a subject about which one could write vol¬ 
umes and then only a small portion would 
have been said. There are, however, cer¬ 
tain salient points that come up 
every day which if thoroughly un¬ 
derstood would be of great as¬ 
sistance to the buyer of the prod¬ 
uct as well as to the producer. 

In this series of articles the 
writer will deal only with subjects 
which are to be reproduced for 
printing in one color. Later on he 
will take up the preparation of 
copy and the making of plates for 
color work in two or more colors by the 
halftone and zinc processes. 

RETOUCHING—Just because an artist 
calls himself a retoucher it does not make 
him one. Too much stress cannot be placed 
upon the necessity of the retoucher knowing 
the photographic tonal values of colors. It 
is a common mistake for an 
inexperienced retoucher (?) 
to put pure white paint on 
a photo which has a decid¬ 
edly red or yellowish tone. 

The proper procedure would 
be to mix a little red or 
yellow with the white as 
the copy might require, so 
that the whole photo will 
have the proper color tonal 
value. Then and only then 
is it possible for the photo¬ 
graphic operator to expose 
for the highlights and the 
details which appear in the 
darks or shadow parts of 
the original. 

When pure white is 
placed alongside of the dark 
red of a solio print the re¬ 
sult is that it “flashes” up 
on the negative, and if the 



Fred J. Willock. 



Courtesy Bausch & Lamb Op. Co. 

The right half represents the mar¬ 
ginal portion of a so-called test chart, 
an assemblage of lines and circles, 
taken with a Rectilinear lens; the 
left the same taken with an anastig- 
mat. The blurring is due to the 
astigmatism of the Rectilinear lens. 


operator exposes for the detail, the white will 
be so over exposed that the negative will be 
useless. 

There is one fact which must not be over¬ 
looked and with which apparently but few 
artists are acquainted, and that is 
that the photographer is exposing 
for the lights in a picture, and 
when the contrasts are too severe 
and not properly graduated in 
tonal values it is impossible to 
make satisfactory negatives. We 
will treat more fully on this mat¬ 
ter when we take up the making 
of halftone and line negatives in 
a succeeding article. 

Very little retouching of the right kind 
will do more to assist toward the produc¬ 
tion of snappy, brilliant plates than an ex¬ 
cessive amount of “just retouching.” It 
would be well to add, perhaps, that it is 
not “how much ?” but how little, and how 
well. 1 he retoucher should realize—and all 
really good ones do—that 
he is only the “first as¬ 
sistant” and not the “whole 
show.” 

The possibilities of the 
scope of retouching are 
shown in figures 1, 2 and 3. 
Figure 1 is a photograph of 
a bathroom in an unfinished 
building. The contractors 
were anxious to effect a sale 
before the apartments were 
completed, so the bath tub 
and basin—the only two 
parts which had been deliv¬ 
ered by the plumbers—were 
arranged in a vacant room 
in about the position they 
were to occupy in the bath¬ 
room. The artist was then 
given a plan of the bath¬ 
room and some fixture 
catalogues, Fig. 2, which 
























































































PHOTO-ENGRAVING ART 


Fig. i. 

We are indebted to the Powers Photo-Eng. Co., 
N. Y., for the loan of the plates on this page. 


showed the kind of medicine closet, toilet, 
faucets, shower bath, tiling, etc., etc., that 
were to be used to furnish the room. The 
finished cut, Fig. 3 > while it could have been 
materially improved by a little more care¬ 
ful drawing of the general perspective is 
a fairly good example of what can be done 
by an ordinarily clever retoucher. 


Fig. 3- 


In figures 4 and 5 are shown two photo¬ 
graphs of the same machine. One is in 
focus, and the other not only out of focus, 
but distorted. These two latter faults are 
common ones when an amateur photog¬ 
rapher, usually a friend, with a folding 
camera, equipped with a rectilinear or even 
a single meniscus lens, is called in by the 
economical customer to take the pictures of 
his machine in order to “save money.” 

The customer usually effects the saving 
on the first cost, but it is odds that if he 
uses the photos taken by the amateur it 
will cost many times as much to retouch 
and produce satisfactory results as it would 
have cost in the first place had he delegated 
an experienced commercial photographer 
with his “lens for every purpose” to do 
the job. 

Part of every commercial photographer’s 
equipment is an assortment of wide angle 
and long and short focus lenses. Some 
photographers have an assortment of as 
many as twenty lenses. 

When taking photographs which are to 
be used for reproduction by the halftone 


Fig. 2. 


























PHOTO-ENGRAVING ART 


15 7 


piocess for commercial purposes it cannot 
be too heavily emphasized that it is neces¬ 
sary that the work be done by a photog¬ 
rapher who understands his business. By 
this is meant one who makes negatives 
that aie sharp and in which the detail is 
well defined and the parts all in perfect 
perspective. Once these details have been 
properly taken care of and a good print 
made from the resultant negative the neces¬ 
sity for excessive retouching is reduced to a 
minimum. The cost of a good commercial 
photograph varies, but it is usually some¬ 
where between three and five dollars. Oc¬ 
casionally, if the subject is a difficult one 
or at a great distance from the studio, a 
photographer may charge more for an order 
of one. Usually on three or more there is 
a pro-rata reduction on all after the first 
one, which is usually considered the min¬ 
imum charge. 

Many inexcusable (?) errors are made by 
engravers’ photographers when copies are 
marked with percentage reductions, such as 
“1-3 off” or reduction” or “2-3 size,” 
“one col.,” "two cols.,” etc. In a majority 
of cases the operator misconstrues the 



Courtesy Gatchel & Manning, Plula. 

Fig. 4. An unretouched photo showing a drilling 
machine in focus and perfect perspective. 



Courtesy Gatchel & Manning, Phila. 

Fig. 5. This shows the same machine distorted 
and out of focus. 

marking, and when a copy is marked 1-3 off, 
the customer will be chagrined to receive a 
cut 1-3 the size. 

Many customers, who under ordinary cir¬ 
cumstances display average intelligence 
when dealing with engravers, do not seem 
to realize that the "one column” might 
mean anything from i%" to 5" or more. 
They seem to forget that the engraver has 
many customers who are publishing period¬ 
icals and that the width of the columns of 
the different publications are as varied as 
the whims of the publishers will allow. 

In the writer's opinion there is only one 
proper way to mark a copy, and that is to 
designate as plainly as possible the actual 
inches, width or height and the amount to 
be included in the dimensions marked. If 
a copy is to come within a certain propor¬ 
tion it should be so marked. When a copy 
is marked as Fig. 7, the usual procedure is 
to bring it "within” if the proportions do 
not allow of the reduction. An example 
will illustrate: A photo 8x10 is marked 
to be reduced to 3M2 x 5. Reducing the 
height to 5 in. will make the width 4 in. 
The photographer following instructions 
will reduce the width to 3^2 in. and ignore 










158 


PHOTO-ENGRAVING ART 


the height marking entirely. The result is 
that the proportions will be “within” the 

specified size and 
will come 3/2 x 
in. If on the 
contrary the cus¬ 
tomer had marked 
his copy Z X A x 5 
and had a d d e d 
“crop to fi t,” 
the photographer 
would have taken 
the full height 
or 5 in. and cut 
enough off each 
side to make the 
proper width. No 
photographer will 
take the liberty to 
crop a picture un¬ 
less he has had instructions to do so, and if 
both height and width are indicated unless 
the copy is in proportion the “within” rule 
holds good. 



Often a customer will send an original 
photograph or drawing and a sample, with 
instructions to “make a cut same size as 
sample,” and as often the sample is lost 
or misplaced and the cut is delivered the 


“same size.” It is easy to imagine the cus¬ 
tomer’s feeling if the copy is 8x 10 in., and 
the cut desired 2 x 2^4 in. Marking the 
copy 2 in. wide would have saved time and 
money for the engraver and customer. 

Fig. 8 shows a common form of marking 
copy, which is often the cause of consider- 



Fig. 9 . 


able trouble, as it leaves the desired size 
in doubt. The proper way to mark it would 
be as is shown in Figs. 6 and 9. In Fig. 6 
it will be seen that the crop marks indicate 
the exact portion intended to be included 
in the measurement; they are decisive and 
leave no room for doubt in the mind of the 
photographer. If a copy is marked as Fig. 9 
the operator measures on the extreme width 
of the drawing; not on the margin of the 
paper. The whole of the picture is included 
in the reduction or enlargement. 



Fig. 7 . 



Fig. 6. 































PHOTO-ENGRAVING ART 

COLOR AS APPLIED TO PRINTING 


i59 


Music in Its Relation to Color Harmony* 

1 hud of a sales of articles written especially for Photo-Engraving Art 

By HARDESTY G. MARATTA 


[ T was shown in the last article the simple 
manner in which the chromatic and dia¬ 
tonic scales are produced in music, by the 
odd and even multiples in numbers. 

Diagram No. 1 shows the keyboard of a 
piano with music symbols; the letters repre¬ 



sent the colors of the chromatic scale of 
pigments. 

Any chord or triad selected from the 
music scales will also be a chord or triad 
in colors. 

Those not understanding music will find 
diagrams No. 2 and No. 3 of great assist¬ 
ance in selecting both music and color chords. 

Many musicians there are that can pro¬ 


duce a chord on an instrument, yet are un¬ 
able to tell why it is a chord. We cannot 
compare the artist with this musician. The 
artist may produce many agreeable color har¬ 
monies by so-called feeling, which is really 
accumulated knowledge. While the musician 
has a scientifically tuned instrument, the 
artist must adjust or tune his instrument 
each time he uses same, by mixing on the 
palette (Whistler said, “Get your color right 
on the palette and it will be right on the 
canvas'’) not according to any law, but en¬ 
tirely by his eye and past experience. He 
knows that cobalt blue and yellow ochre 
makes a distant gray-green, or cobalt and 
light red makes an agreeable distant purple, 
etc. These formulae the artist accumulates 
by experience, and they are limited. With 
the use of the Margo pigments, he may 
quickly and unerringly find any distant color, 
grey, hue, tint, etc., and know exactly how 
he got it, so that he may repeat the same 
note again and again at any time. With the 
Margo pigments, which form an instrument 
in the hands of the artist, any color, hue, 
or tint may be selected as a keynote, and all 
the other colors, hues and tints that go with 
it in harmony, melody or contrast may be 
readily found. As in music, its position in 



Diagram II. 


c 

RFD ■ P 

C* 

RED 

D 

RED-O- 

D* 

ORANGE 

E 

YEll- 0 

r 

YE How 

-p# 

YELl-GR- 

G 

GREEN 

G * 

BUJt-GR- 

A 

BUIE 

A* 

B-PURP- 

B 

PURTLE 

E 

ftLl-OR- 

F 

FELLOW 

F* 

yell- gR 

G 

GREEN 

G * 

BUIE (s9s 

A 

BLV E 

A* 

BLW EP- 

B 

PURPLE 

c 

RE.O-P 

C* 

RED 

D 

RtO-O- 

D* 

ORANGE. 

G 

GREEN 

<3 * 

BU/E-gR- 

A 

BL.U E 

A* 

BluE-P- 

B 

Purple 

•c 

RED-P- 

C* 

RED 

D 

REO-OR' 

D * 

ORAN (, E 

E 

YELL-OR- 

T 

rELLOW 

F* 

YEU-GR- 


Diagram III. 

* Copyright, 1909, by H. G. Maratta, N. Y. 






















































































i6o 


PHOTO-ENGRAVING ART 


the scales being known, it is an easy matter 
to find that which follows. 

To illustrate color harmonies without the 
use of pigments is most difficult. The 
chromatoscope chart illustrates the harmony, 
contrasts melodies, chords, etc., in a very 
simple manner. 


The diagram No. 4 foreground colors, 
represent the six standard pigments. The 
strongest contrasts are every fourth. As red 
and green, orange and blue, yellow and pur¬ 
ple. We may sharp or flat these contrasts 
as in music, which is selecting the tone on 
either side of the complement, as shown in 


Background Hues. 


A 


RED 

HUE 


ORANGE 

HUE 






YELLOW 

HUE 


PURPLE 

HUE 

TK 


V 


{ V 

e 

J V 

\J 


V dA 

J >/ V 



PURPLE 

COLOR 

RED 

COLOR 

ORANGE 

COLOR 


YELLOW 

COLOR 


GREEN 

COLOR 


BLUE 

COLOR 


PURPLE 

COLOR 


Foreground Hues. 
Diagram IV. 


This chart is published at present for the 
use of printers. It is a scientific arrange¬ 
ment of colors that will enable a novice to 
select harmonious color combinations, it be¬ 
ing so arranged that every seventh color is 
a complement, also showing the warm and 
cool colors, hues and tints on either side 
of the complement. (The chart is in three 
sections which fold, size 15x27 inches.) 
One has only to select the color, hue or tint 
he wishes to run on the press, and the com¬ 
plements, contrasts, harmonies, chord melo¬ 
dies, etc., are found at once. The harmo¬ 
nies are reached by going from colors to 
hues or hues to hues. 

The printer selecting a two-color combina¬ 
tion for colored stock has only to pass the 
stock over the chart until the color of the 
stock it most resembles is found; from this 
he learns the color, hue or tint of the stock, 
which is the keynote and is treated as one 
of the colors of the combination, it being a 
matter of choice whether a harmony, mel¬ 
ody or contrast is selected. 

Water and oil pigments for the artist and 
designer, and printing inks for the printer 
are all matched and numbered the same as 
the numbers on the chart. The advantage 
of this arrangement is this: Should the artist 
use the paints on his sketch, and marks the 
number of the same on his sketches, the 
proofer and printer can match this same color 
with the same number in Margo Printing- 
Inks. Thus saving much time in mixing. 


diagram No. 5, which is a warm or cool 
contrast. 

It will be seen there are three greens to 
put in contrast with red, i. e., green the 
strongest contrast, or vellow-green on the 
warm side and blue-green on the cool side. 
Or the reverse, we have three reds to con¬ 
trast the green. As red is itself the com¬ 
pliment or strongest contrast, or red-purple 
on the cool and red-orange on the warm 
side, the color on either side of the compli¬ 
mentary will be more harmonious, for the 
reason of it being a little more closely re¬ 
lated, each color, however, being a contrast 
of more or less degree. 

As we have three contrasts or compliments 
to any selected color of the twelve chromatic 
tones, likewise we have three triads that may 
be used as primaries, taking the place of red, 
yellow and blue. For example, we may say 
red, yellow and blue, or change the blue end 
to the warm blue-purple or the cool blue- 
green. The following will illustrate: 

Reds Yellows Blues 

Red-purple Yellow-orange Blue-green 

Red Yellow Blue 

Red-orange Yellow-green Blue-purple 


RP 

R 

-R-O 

0 

Y 0 

Y 

YG 

G 

BG 

B 

BP 

p 

c 

c* 

D 

D« 

E. 

T 

T* 

G 


A 

A* 

B 

1 


2 


3 

4 


5 


6 


7 


Diagram V. 


Any one of the reds may be used as a 
primary with any one of the yellows and 
blues. This is all the printer using the three- 




























































PHOTO-ENGRAVING ART 


161 


color process can do, that is, make the red 
more purple or orange, the yellow more 
orange or green, and the blue more green 
or purple. (The artist will be amply repaid 
for any thought devoted to the above, as 
these primaries produce secondaries, tertiar- 
ies and quaternaries that are very beautiful 
scales. With the use of the Maratta Margo 
pigments the 12 chromatic tones may be 
measured very accurately.) 

Diagram No. 6 illustrates the six standard 
pigments in the scale of sequence, also the 
scale from light to white through yellow, 
orange, red purple, black to darkness on the 
warm side, and from light to white through 
yellow, green, blue, purple, black to darkness 
on the cool side. 

Those six standard pigments do not pro¬ 
duce the most pleasing color harmonies; they 
only produce harmonies of contrast. By 
using small areas of one color with larger 


dium, or lowered to the hues, grave or grey 
tones (still retaining the same relation to 
the standard colors that the notes of one 
octave bear to another), by mixing mathe¬ 
matical proportions of the colors and again 
making tints from them. 

Diagram No. 4 shows the foreground 
colors, also the background or distant hues. 
By placing a red letter or ornament on the 
hue or tint of green, a much more refined 
and pleasing contrast is produced than when 
the red is placed upon the green color, or the 
reverse, that is, the green color may be 
placed on the red hue or a tint of the same. 

Should a green letter be placed upon a 
ground of green hue or tint, a more pleas¬ 
ing harmony is produced, the green color 
making the green hue or tint appear as its 
compliment. Any of the colors placed upon 
a ground of a hue, or tint of a hue, will 
have the same effect. Or a color may be 


WARA-S 1 DE 


^PVRPLIARED ORAN GE 
BLACK.- 

DARKMESb 


LIGHT 

WHITE COOL-SIDE 

^ELLOW->GREEN-*BL\JE^PURPLE x 

„ BLACK 

DAKKfiESS 

Diagram VI. 


areas of other colors, together with black 
and white, as an initial letter or small orna¬ 
ment with text, etc. 

The most powerful, beautiful and harmo¬ 
nious color combinations are produced when 
standard colors are placed in juxtaposition to 
the hues or greys. It may be well to state 
that a grey may partake of any color, there¬ 
fore it is well in speaking of a grey to al¬ 
ways specify the color of the grey, which 
may be any of the chromatic scale, as red- 
grey, yellow-grey, blue-purple-grey, etc. 
(Browns are greys of the warm side of the 
scale.) 

As stated in a previous article, “There can¬ 
not exist a greater variety of sounds than 
those which are found between the tonic and 
its octave. We have a repetition over and 
over again in the different octaves of the 
same sounds, only higher or lower, more 
grave or acute.” 

The same is true of color. There cannot 
exist a greater variety of colors than those 
found in the spectrum band. Like the oc¬ 
taves in music, we have a repetition over 
and over again of the same colors, brought 
up to tints with white or a transparent me- 


placed upon a ground of the adjoining hue 
or tint of either side, and a little of the 
color may be added to the hue if a stronger 
contrast is desired. 

Gold, silver, white and black should be 
treated as neutral; they will go with any 
color. 

A gold ornament or letter on a color 
ground may be outlined with black; the 
black will partake of the compliment of the 
ground color, thus producing a harmony by 
simultaneous contrast. A color placed upon 
a gold ground may be outlined with a hue of 
the same. Monochromatic harmonies are 
letters or ornaments placed upon a ground 
made up of tints of the same color as the 
letter or ornaments are made from. A 
little of the hue may be used to grey the 
tints if desired. 

When the word color is used in these ar¬ 
ticles it refers to the saturated Margo pig¬ 
ments ; the hues are the same colors reduced 
by mixing mathematical proportions. 

The chromatic chart shows the unlimited 
possibilities. The next article will describe 
how in a natural way the hues are produced 
from the colors. 



162 


PHOTO-ENGRAVING ART 



of $ljoto-IEttgratiitig 

FRED J. WILLOCK.EDITOR. 

THE HILLSIDE PRESS 

Publishers, 

Richmond Hill, New York. 

To insure the return of unavailable manuscript re¬ 
turn postage should be enclosed. 

Subscriptions—United States and Canada, $1.00 per 
year, single copies io cents. Foreign countries, 
$1.50 per year, single copies 15 cents. 

SEPTEMBER-OCTOBER. 


ENTERPRISE 

Be enterprising. Look into every¬ 
thing new. 

If a new dragons blood, negative 
or stripping collodion, or plate wash 
is offered by some wide-awake chem¬ 
ical house. If a new lens is offered 
by an optical house, or a new machine 
or a new theory is advanced by some 
ambitious worker, give them each a 
trial. 

Go at every attempt at an improve¬ 
ment enthusiastically. Don’t fret 
over the actual or possible losses 
which you sustain. Seven times out 
of ten you will be benefited. Every 
new and successful solution to an old 
problem, either from an economic or 
physical standpoint, is a step forward, 
and if you see it first you get just that 
much lead on your less ambitious 
competitors, as your enterprise or cir¬ 
cumstances will permit. 


There isn’t a detail of the photo¬ 
engraving business to-day but what 
can be vastly improved. The busi¬ 
ness is so new it is hardly out of the 
experimental stage. 

Some concerns have been in the 
business since its inception, and are 
just about where they were when 
they started, except that they are get¬ 
ting less money for their product 
than ever before. Others have been 
in the business only a few years, and 
are alive to every improvement and 
are making appreciable strides. 
They are getting the same price per 
square inch as the older firms, but, 
owing to the fact that their plants 
are equipped with more up-to-date 
machinery, better lenses and newer 
materials, they can produce their 
work at a fraction of what it costs 
older and more conservative con¬ 
cerns, and consequently they are 
making money. 

- 0 - 

Out in San Francisco the I. P. E. U. and 
the newspapers had a skirmish which has 
been all straightened out. The dove of 
peace is once more flying over the scene 
and a two-year working agreement has been 
executed. The trouble originated between the 
Union and the San Francisco newspapers. 
There was a jurisdictional question involved 
between the two unions, the I. T. U. and 
the I. P. E. U., as to which should block 
the cuts in the newspaper offices, and also 
with respect to the use of the Rause blocks, 
which is a patent blocking arrangement. 
The commercial shops were in no wise con¬ 
cerned in the matter until the men refused 
to make advertising cuts for the customers 
of the commercial shops for use in the 
newspapers. Nothing was said about illus¬ 
trative news cuts. When the men refused 
to do the work as ordered they were dis¬ 
charged for insubordination. Each commer¬ 
cial shop acted independently. The Union 
charged the employers with a conspiracy to 
lock them out. During this time the em¬ 
ployers and the employees were negotiating 
a new working agreement, and the matter 
was finally sifted down to three points of 
difference. The employers claim to have 
won out on every point involved. 















PHOTO-ENGRAVING ART 


163 


NOTES ABOUT ENGRAVERS 

The Manz Engraving Co., Chicago, Ill., 
has gone through the last two years without 
realizing there was any depression, judg¬ 
ing from the report of Treasurer Bersbach 
on the volume of business done. 

* * * 

McKenzie Engraving Co., formerly of 72 
Bedford street, Boston, and W. F. Nicker¬ 
son & Co., have consolidated under the name 
of the McKenzie Engraving Co., and are 
now installed in their new building. 

* * * 

Lyman C. Hershey, well known in the 
photo-engraving business, has purchased the 
controlling interest in the Manhattan Photo- 
Engraving Co., of 251-253 William street, 
New York, and is the managing director. 

* * * 

The engraving house of Jalm & Ollier, of 

Chicago, has opened a branch otnce on 

Good Block in Des Moines, Iowa. C. G. 
Brown, formerly of the Star Engraving Co., 
is in charge. The plate work is done in 
Chicago. 

* * * 

The Star Engraving Co., of Des Moines, 
la., had an early morning fire recently, 
which was discovered in time to prevent 
the complete destruction of its plant. The 
electrotyping department suffered the great¬ 
est loss, but the company is now doing its 
usual business. 

* * * 

The Sterling Engraving Co.’s employees 
held an outing on August 14. The affair 
was very successful, and the good feeling 
which runs through all the departments of 
this splendid engraving house was accentu¬ 
ated. The company’s offices and plant is lo¬ 
cated at 200 William street, New York City. 

* * * 

The I. P. E. U. reports that the past year 
has been productive of many good results. 
The membership has been materially in¬ 
creased. It is claimed that there are now 
197 I. P. E. U. labels in use. That the 
finances are in a healthy condition is shown 
by a balance of nearly $40,000 in the treas¬ 
ury. 

* * * 

The employees of the F. A. Ringler Co., 


BUSINESS CARDS 


Western Union Tel. Code 

MILTON A. NATHAN 

attorney at law 

CHRONICLE BUILDING SAN FRANCISCO 
Telephone Kearny 3340 

Attorney Employing Photo-Engravers Ass’n of California 


the well-known engraving and electrotyping 
firm of New York, enjoyed an outing and 
games at New Dorp, S. I., on Saturday, 
August 14. An elaborate luncheon and din¬ 
ner were served and games indulged. W. 
Bissell was chairman of the day’s com¬ 
mittee. 

* * * 

The Scranton Photo-Engraving & Elec¬ 
trotype Co., of Scranton, Pa., has just had 
a full equipment installed under the super¬ 
vision of C. S. Mills, of the F. Wesel Mfg. 
Co., of Brooklyn. Charles Gamewell, for¬ 
merly Superintendent of the Printing De¬ 
partment of the International Text Book 
Company, is president. Gustavus Meyers, 
formerly in charge of the Photo-Engraving 
department of the “Courier-News,” has 
direct charge of the mechanical details of 
the new company. 


Hr tint’s Card^ 

Under this heading we will print each month a 
number of artist’s cards. Rates on application. 

1 

1 CHARLES OGDEN fjj 
PHOTO-RETOVCHING ’ I 

T°H r t HIGHEST GRADE • 

1004 CHESTNVT .STREET. 2 

PHILADELPHIA. PENNSYLVANIA. I 1 

■ m-m ■■ ■" ■ m ■ ■■■ mu 1 



T° reach the port of 
results in ADVERTISING 
CmCEwmiA you must have a skilled 
iWmXMy* ARTIST a t the wheel 

WRIGHT 

DESIGNER & ILLUSTRATOR 


PAUL PHILIP GOOLD 

GENERAL ILLUSTRATING 

Specialist on Army and Navy Matters 

Tel. 1630 River. 2314 BROADWAY, N. Y. 



JOHN J. HOFF 

PHOTO-RETOUCHER ILLUSTRATOR 
DESIGNER 

Tel. 3120 Gram. 27 EAST 22d ST.. N. Y. 





























164 


PHOTO-ENGRAVING ART 


FOCUSING, OLD AND NEW 

Being a Short Summary of the Scale Method 


By ARTHUR 

'pHE problem of Automatic Focusing 
-*• has tempted several investigators, and 
two patents have been granted, one to Mr. 
Koenigs, professor on the Sorbonne in 
Paris, in 1900, based on the principle of the 
well known pantograph, the other to T. 
Carpenter, of Paris, based on the applica¬ 
tion of a right angle lever in 1897. These 
two as well as other systems, devised by G. 
Frecot, have the same defects in common: 
They cannot be attached to existing ca- 


FRUWIRTH 

a model of perfection, have nearly mathe¬ 
matical correctness. The focusing scale is 
prepared by reducing 12" to all sizes at an 
interval of l A", and marking the foci in ac¬ 
cordance with the indici of the reduction 
chart. 

My own experiments complete this short 
sketch of history. In 1899 I completed my 
first system, and since that time the ground 
glass has lost its job with me. The system 
was published in Anthony’s American An- 



Fig. 1. 


meras, need a ground-glass for measuring 
the sizes, and easily get out of order. 

Focusing by means of scales is much 
older, the most universal, though rudimen¬ 
tary, example being the snapshot camera 
with its focusing scale. A long step in the 
right direction has been made by the Pen¬ 
rose people of London. 

It is to the credit of an American, Mr. 
Benedict, of Chicago, to have solved the 
problem of automatic focusing as far as is 
ever possible without the introduction of 
mathematical calculations. His system is 
thoroughly practical, and the readings taken 
from his large Reduction Chart, which is 


nual. In 1904 I gave the scales a still more 
precise form and superseded the Reduction 
Meter by the Tables of Reduction and En¬ 
largement. 

My system is based on the following 
mathematical calculations: Light diverging 
from one point will after transmission 
through the lens converge to another point. 
These two points are called Conjugate 
Foci. If the luminous point is at an infinite 
distance, its conjugate focus becomes the 
Principal or Equivalent Focus of the lens, 
that is, the nearest distance from the lens 
at which a sharp image is formed, Fig. 1. 

Principal focus and conjugate foci bear a 



Fig. 2. 
















PHOTO-ENGRAVING ART 


i6 5 



definite relation to one another, expressed 
by the equation 


where 


i 1 i 

Equation i.) — = — -f- — 
fab 
f = equivalent focus, 
a = distance of luminous point \ 
b = distance of image J 


from 


lens. 


Fig. 2 will show some of the more char¬ 
acteristic positions of a and b, which form 
the foundation of my Automatic System. 

Substituting for the luminous point an 
object of definite size the relation between 
a, b, f and the size of object and its image 
is expressed by the equations 


Equation 2.) 


Equation 3.) 




where a = distance of object \ r 
b = distance of image J 
{ — equivalent focus, 
m = size of object, 
n = size of image. 


lens. 


Fig. 3 shows the same positions of a and b 


as in Fig. 2, but in addition the sizes of im¬ 
age n for these positions. 

In order to fill the space between 1-1, 14 , 
1-3, etc., size, and to arrive at a sys¬ 
tematic focusing scale, we have to consider 
n 

value —. It expresses the ratio- between 
m 

object and image. By using a uniform de¬ 
nominator = 100, we express this ratio in 
parts of 100 or per cents. For instance copy- 
size 10" to be reduced to 6 " becomes a 60 
per cent, reduction, copysize 7*4" reduced 
to 4/2" is also a 60 per cent, reduction, and 
so forth. My tables have the function of 
transforming common fractions into per- 
centic values and thus arriving at a sys¬ 
tematic base for the focusing scales. These 
are calculated by means of the above equa¬ 
tions and constructed for a presupposed 
focal length of an imaginary lens of 60 cm. 
for all ratios at an interval of 1-10 per cent., 



































































































166 


PHOTO-ENGRAVING ART 


3 


3 

l Q 

h 



1 2 

S 8 

3 4 

7 8 

sjj 

ft 

fat 

fat 

1 

fat 

fat 

7,0 7 

fat 

36* 


31? 

7 

37 f 

b6 

30 

103 

70,1 

07s 

3fa 

,?6 

J44 

33 j 

! 8 

37/ 

U 

30 


3 fa 

30 

30 r 

3f-z 

3 !6 

33? 

JZf 

3/ 7 

nh 

4-/,7 

46 

36 f 

31 

>4 

JS 7 

34 a 

33q 

3? 1 

4,1? 

41 

40-v 

363 

he 

37f 

3 0 2 

34 

33 q 

46* 

A (4 

4Z 3 

43 7 

3 8 

34 3 

37^ 

30 7 

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19 

Fig. 5. Table showing all ratios of reduc¬ 
tion from 3" to 3H". 

conforming to the indici of the tables. Fig. 
6 is a much reduced reproduction of the 


Focusing Chart, Fig. 5 a reproduction of 
page 3 of the tables showing the general 
disposition and giving all ratios of reduc¬ 
tion for copysizes from 3" to fa/fa. 

In order to get the proper working scales 
for practical work on the camera it is neces¬ 
sary to reproduce the Focusing Chart in a 
manner that one strip of the scales is of a 
length equal to the equivalent focus of the 
lens. The equivalent focus of the lens is 
established by taking 2 foci, one at natural 
size and one at or 1-3 or J A size, as these 
foci are separated by exactly the length of 
the equivalent focus. A perfect outfit, a spe¬ 
cially constructed focusing screen, a focus¬ 
ing microscope and some very smart focus¬ 
ing and measuring are required for the 
work. The scale negative is finely printed 
on metal, the scales are sawed apart, finished 
and attached to the camera in proper posi¬ 
tion and rotation. A specially designed 
scale adapter makes the work of adjusting 
the scales to any camera perfectly auto¬ 
matic, thus eliminating the chances of faulty 
attachment. Two indicators for the posi¬ 
tions of the camera and of the sensitive 
plate finish the installation of automatic 
focusing. The percentic ratio indici are 
looked up in the tables, and on these indici 
of the scales camera and ground glass are 
set—an operation of a few seconds. 

Enlargements require neither extra tables 
nor a specially calculated focusing scale. A 
second set of the scales is prepared from 
the chart negative and attached to the 
camera in reversed order of the reduction 
scales, while the ratios of enlargement are 
read from the tables exactly like reductions 
with copy and negative size interchanging 
places. An example will clear the maker: 
3" enlarged to 4" becomes 4" reduced to 3", 
or ratio 75 per cent, of the enlarging scale. 

All matters of proportion between height 
and width of copies, grouping of several 
copies in a given space, combination and 
insertion jobs are settled by the tables with¬ 
out ever going back to the ground glass. 
Sizes and definition of negatives are perfect, 
no copy will escape which can be bunched 
with another one. Objects of considerable 
thickness, like books, paintings, are scale- 
focused with the same ease. In eight out of 
ten cases even real objects need no ground 
glass. 















































































PHOTO-ENGRAVING ART 


167 



With an average output of 100 half¬ 
tone negatives a week and four to five min¬ 
utes to the exposure the arc lamps burn no 
longer than six to eight hours from Monday 
till Saturday. Linework with exposures 
from one-half to one minute, even if the out¬ 
put of negatives be trebled, is all exposed 
in one-half hour per day. 


tion. Teaching the prnciples underlying 
good typography by the most efficient 
methods, it is given to students for less 
than actual cost, being endowed by the In¬ 
ternational Typographical Union, which 
offers the course as one of its contributions 
to greater industrial efficiency. Anyone in¬ 
terested can obtain further information by 
addressing the I. T. U. Commission at 120 
Sherman Street, Chicago, Ill. 


I. T. U. COURSE IN TYPOGRAPHY 

We received, too late for notice in our 
last issue, a fine sample of printing from 
the I. T. U. Correspondence Course of In¬ 
struction in Printing. This school is con¬ 
ducted by the Inland Printer Technical 
School under the direction of the I. T. U. 
Commission on Supplemental Trade Educa¬ 


WELL NAMED 

In a recent trial of a “bootlegger” in 
Western Kentucky a witness testified that 
he had purchased some “squirrel” whisky 
from the defendant. 

“ Squirrel whisky?” questioned the court. 

“Yes, you know: that kind that makes 
you talk nutty and want to climb trees.” 


PHOTO-ENGRAVERS . 

WILLIAM KORN’S LITHOGRAPHIC 
CRAYON PAPER PENCILS are of a 
chemical nature which resist acids, and 
are used to protect those parts of the half¬ 
tone plate which have sufficient depth. 
The Crayon is a valuable aid to the photo¬ 
engraver, as it enables him to produce 
softness and variation in tints. 

$1.00 per Dozen. $10.00 per Gross. 



MANUFACTURED BY 

120-A Centre Street, New York 


WILLIAM KORN, 








































































































































































































i68 


PHOTO-ENGRAVING ART 





James A. Pierce, 
President. 


H. H. Macnamara, 
Vice-President. 


A. J. Van Leyen, 
T reasurer. 


CONVENTION OF THE EMPLOYING PHOTO-ENGRAVERS 

ASSOCIATION OF AMERICA 


Fourth Annual Convention, Held at Detroit, Aug. 20-21, 1909 


T HE Fourth Annual Convention of the 
Employing Photo-Engravers’ Associa- 
ciation of America was held at Detroit, 
Mich., August 20th and 2ist. The convention 
was well attended. 

The opening session was called to order at 
io A. M. Friday, August 20th, 

1909, President James A. Pierce 
presiding. 

J. J. Whirl, secretary, in his re¬ 
port stated that the E. P. E. A. of 
A. had been weighed in the balance 
and not found wanting. He spoke 
of the good fight its members 
waged against the tyranny of the 
Czar-like walking delegate and 
the great sacrifice made in order 
to maintain their business man¬ 
hood, and dwelt at some length 
upon the work of the local Detroit 
associations of manufacturers, 
builders, and others, in the estab¬ 
lishment of the open 
shop, and attributed 
their success to the 
fair treatment accord¬ 
ed their workmen. 

He stated that men 
in search of work, 
whether union or non¬ 
union, apply volun¬ 
tarily at the labor 
bureau of the asso¬ 
ciation, knowing that 
they are in good 
hands and that no 
discrimination 
is made on account of 
their affiliation o r 
non - affiliation with 
any society. Mr. 


Whirl handled without gloves some employ¬ 
ers of labor he had come in contact with, 
whose actions paralleled in a certain de¬ 
gree the arbitrary and inconsistent methods 
adopted by many union organizations. 

Mr. Whirl acknowledged the ethical ques¬ 
tion of the ideal relationship between em¬ 
ployer and employee to be beyond 
him, and stated he has long since 
thrown up his hands at the theo¬ 
retical side of the matter and de¬ 
voted himself only to the practical 
end. The workman has a God- 
given right to work for any em¬ 
ployer that he wants to who will 
give him a position, and to work 
for any wage that his judgment 
and the exigencies of the case 
make him accept, and that the 
workman also has the right to 
refuse to work in any shop or 
for any employer. The employer 
has the same divine right to hire, 
or refuse to hire, any 
man and to discharge 
any employee whom 
he believes it to be 
to the best interests 
of his business not 
to have in his employ. 
There are many out¬ 
side issues to be con¬ 
sidered, but they are 
matters of policy and 
judgment on both 
sides, rather than 
questions of right and 
w ron « and in no 
way alter the in¬ 
alienable and absolute 
right of an employer 
to live and pay wages 



H. G. Bogart, 
Chairman. 




Sam Ohnstein. L. F. Eaton. 

Members of the Executive Committee. 





PHOTO-ENGRAVING ART 


169 


to any man he choose, or of a workman to 
work for and receive wages from any boss 
as his pleasure dictates. 

As to the work of the Labor Bureau, the 
Secretary described it as an effort to fit 
round pegs into round holes and square 
pegs into square. If this is done well and 
the fit found for each peg, the wheels go 
round and peace and happiness reign—each 
peg a perfect fit, there are no crevices left 
for the walking delegate to insert his wedge 
of discontent. 

In the human family the most despicable 
one is the coward and “quitter.” When you 
decided to open your shops you went into 
what you knew would be a long and trying- 
struggle ; it would be an insult to believe'that 
you went into it blindly or without considera¬ 
tion, or with the feeling that you were start¬ 
ing upon a joy-ride. Undoubtedly conditions 
forced you to fight and left you no alterna¬ 
tive. The fight is over and your shops are 
open, and I believe, from what I have 
learned in my short connection with you, 
that they will stay open. Naturally, there are 
scars and some wounds left. Possibly, at 
times, these wounds are painful, but remem¬ 
ber what you suffered under old conditions. 
Were not the wounds daily then, and were 
they ever allowed a minute’s time to heal? 
Ask yourself this, gentlemen, and if you find 
even one of your members who you fear may 
show the white feather, save him from him¬ 
self for his very manhood’s sake, and do hot 
let him brand himself a “quitter.” 

In the E. P. E. A. of A. you have an asso¬ 
ciation that can be a power in the industrial 
affairs of the whole business world, and in 
which you should feel the utmost pride. You 
have been to battle and return victorious. 
Whether or not you reap the fruits of your 
victory will depend upon yourselves. To 
maintain your position you must never sleep. 
The price of peace with you is constant 
watchfulness, strict adherence to and activity 
in your association, and an unyielding deter¬ 
mination never to allow the business world 

MEMBER. 

The Jas. Bayne Co. 

The Buffalo Engraving Co. 

Central Engraving Co. 

Clegg, Goesser & McFee. 

Crescent Engraving Co. 

R. R. Donnelly & Sons Co. 

Eclipse Electrotype & Engraving Co 

The Gage Printing Co. 

Grip Limited. 

Jahn & Olier Engraving Co. 

J. L. Jones Engraving Co. 

Mathews-Northrup Works. 

Peninsular Engraving Co. 

Seeman & Peters Ptg. Co. 

The S. & O. Engraving Co. 

Messrs. Van Leyen & Hensler. 

Messrs. Van Leyen & Hensler .. 

Electro Gravure Engraving Co. 


to point you out as men who started out to 
accomplish a reform and failed. 

The Executive Committee and the Treas¬ 
urer submitted their reports, which were 
approved. 

The election of officers was taken up at the 
afternoon session and resulted in the unani¬ 
mous election of the following: 

OFFICERS. 

James A. Pierce, Miathews-Northrup 
Works, Buffalo, N. Y., President. 

H. H. Macnamara, Grip Limited, Toronto, 
Ont., Vice-President. 

A. J. Van Leyen, Van Leyen & Hensler, 
Detroit, Mich., Treasurer. 

John J. Whirl, Stevens Building, Detroit, 
Mich., Secretary. 

EXECUTIVE COMMITTEE. 

H. G. Bogart, Central Engraving Co., 
Cleveland, O., Chairman. 

L. F. Eaton, Peninsular Engraving Co., 
Detroit, Mich. 

Sam Ohnstein, Crescent Engraving Co., 
Chicago, Ill. 

Mr. F. W. Gage, of Battle Creek, presented 
an excellent paper upon the subject of “Ex¬ 
tended Education of Apprentices,” and made 
a number of suggestions which were referred 
to a special committee. 

A great amount of routine business was 
transacted and the convention adjourned on 
Saturday, August 21st, 1909. 

While the delegates were attending the 
meetings their ladies were royally enter¬ 
tained by the local ladies with automobile 
rides around the citv, Belle Isle, Palmer 
Park, luncheon at the Detroit Golf Club 
and theatre parties. 

The Convention in all its phases was a 
most successful and enjoyable one, and the 
E. P. E. A. of A. begins its new associational 
year with the best of harmony and good 
feeling, and bright prospects for still greater 
achievements and firmer establishment of the 
open shop in the Photo-Engraving industry. 

The following attended the convention : 


ADDRESS. REPRESENTATIVE. 

Grand Rapids, Mich.... Grant Goodrich. 

Buffalo, N. Y.H. K. Perry. 

Cleveland, O.H. C. Bogart. 

Cincinnati, O.Geo. Meinshausen. 

Chicago, Ill.Sam Ohnstein. 

Chicago, Ill.W. Stewart. 

Cleveland, O.Frank H. Clark. 

Battle Creek, Mich.Fred W. Gage. 

Toronto, Ont.H. H. Macnamara. 

Chicago, Ill.Adolph Jahn. 

Toronto, Ont.J. L. Jones. 

Buffalo, N. Y.Jas. A. Pierce. 

Detroit, Mich.Levi F. Eaton. 

Saginaw, Mich.Chas. H. Peters, Jr. 

Akron, O.Jas. W. Meeker. 

Detroit, Mich.W. C. Hensler. 

Detroit, Mich.A. J. Van Leyen. 

Detroit, Mich.Oscar A. Netschke. 






































170 


PHOTO-ENGRAVING ART 


THE NOBLE ROTARY PEN 

A fine sample of the work of the newly 
invented Automatic Rotary Pen is here 
shown. The pen in a broad sense is a 
free-hand drawing pen, its construction and 



operation being such as to lend itself per¬ 
fectly to the free movements of the hand 
and arm. The ink is admitted into the pen 
proper from the reservoir automatically, 
and for this reason a line of any length or 
direction may be made with a continuous 
whole-arm movement; and this insures at 
once regularity of curve and absolute pre¬ 
cision and evenness of line, so essential in 
all fine work. The width of the line is 
regulated by the thumb-screw on the side 
of the pen. When in operation the pen fol¬ 
lows the movement of the hand in such a 
position that a perfect line always results. 
The mechanism for regulating the flow of 
ink is quickly adjusted to suit the character 
of the work. While it is utterly out of the 
question to show here anything like a com¬ 
plete set of specimens of the work of the 



instrument, enough is shown to give some 
idea of its possibilities, and to aid persons 
interested in drawing, designing, illustrat¬ 
ing, etc., to make a reasonably correct esti¬ 
mate as to its adaptability to their particular 
class of work, and meet their individual re¬ 
quirements. 


MANUFACTURERS’ NOTES 

The monthly calendar of the American 
Steel and Copper Plate Co., of New York, 
printed in colors and embossed with the 
name of the company issuing it is a beauti¬ 
ful sample of high-grade printing and em¬ 
bossing, and a credit to the firm. 

* * * 

The Star Engravers’ Supply Co., N. Y., 
is sending out through the mails a circular 
which is quite unique in that it is delivered 
without being stamped. It is gotten up in 
the form of a telegram, and carries the 
simile to the limit, not omitting the “un¬ 


repeated message” clause, and calling at¬ 
tention to the fact that “There is no method 
of making friends equal to the method of 
making good.” 

* * * 

O. C. Wold, manufacturer of air brushes, 
Chicago, is placing on the market an in¬ 
genious apparatus called the Stencigraph. It 
is designed primarily for use by the makers 
of showcards, the air-brush varieties of 
showcards being much in demand at this 
time. 

* * * 

Martin P. Higgins, ex-president of the 
International Pressmens’ Union, is sales 
manager at Boston for Philip Ruxton, Inc., 
printing ink makers, while William J. 
Webb, ex-secretary-treasurer of the same 
organization, is on the sales force of the 
American Ink Co., of New York. 

* * * 

A photo-engravers’ shoot-board with square 
and beveling planes has just been placed on 
the market by the F. Wesel Mfg. Co., of 
Brooklyn. The beveling plane has a gradu¬ 
ated cut, ingenious and effective. The same 
firm also announce a rotary shoot-board 
which slices off the blocks at the rate of a 
“mile-a-minute.” Several are in use. It is 
a wonderful chipmaker and a complete cure 
for that tired feeling which comes from 
using the ordinary hand shoot-board. 


D. J. BUNCE 

482 GRANT ST. 
BUFFALO, N. Y. 

/Manufacturer of all ktnfrs of 

Masking 

papers 

SEND FOR SAMPLE 
SHEETS AND PRICES 

WE CAN SAVE 

YOU MONEY 




















PHOTO-ENGRAVING ART 


171 


“A Saw Out Of Condition 

is practically worthless.” 

j^T wastes time and material and is a 
danger to the user. 

Don’t take any chances with it. If 
it cannot be put into good condition 
again, get another and without delay. 

Our Saw Book lists a line of Saws 
you should look up. 

WRITE FOR A COPY 

John Royle & Sons, Paterson, N. J., U. S. A. 

Makers of Photo-Engravers’ Machinery 

Use Cutters that Cut—the kind that Royle makes 



WINSOR & NEWTON’S 

“iprk palette” 

(Francis A. Deck, New York City) 

For RETOUCHING and SPOTTING for 
Reproduction 

FIVE TINTS IN LARGE TUBES 



Goods bearing this trade-mark have received universal 
commendation for the past seventy-six years 

“ALBATA” Red Sable Brushes 
“BRITISH” finest ever made 

BLANC D’ARGENT 

For Process Reproduction 

IN LARGE BOTTLES 

WINSOR & NEWTON, Ltd. 

OF LONDON 

298 BROADWAY, NEW YORK CITY 

Our good* are sold by all art dealer* 



THE 


UNDERWOOD 

STANDARD TYPEWRITER 
Originated— 

Writing-in-Sight Construction 
Built-in-Tabulators and 
Modern Bookkeeping Appliances. 

and Combines 

Originality, Stability, 

Speed and Adaptability. 

Before buying a machine that tries to imitate this origi¬ 
nal “Visible-Writing” Typewriter, let one of our 
representatives have a few minutes of your time, at 
your convenience He will not bore you, but will simply 
explain why IT IS 

Tie Machine You 
'Will Eventually Buy 

UNDERWOOD TYPEWRITER COMPANY, he. 
Anywhere. 


Please say “Saw your adv. in Photo-Engraving Art.” 


















172 


PHOTO-EN.GRAVING ART 



THE HALF-TONE 
PROCESS 

A Pr actical Manual of 
Photo - Engravi ng in 
Half-tone on Zinc, Copper, 
and Brass. With a Chapter 
on Th ree - Colour Work 

BY 

JULIUS VERFASSER 

Fourth Edition Fully Revised 

Price, $2.50 

For Sale by 

THE HILLSIDE PRESS 

PUBLISHERS 

RICHMOND HILL, - NEW YORK 


THE PROCESS 
ENGRAVER’S 
MONTHLY 

Edited by H. SNOWDEN WARD, F. R. P. S. 

npHE British representative 
organ of the process craft. 
Established 1894, and still 
leads as the medium of infor¬ 
mation on all new processes. 

PRICE, SIXPENCE NET 
ANNUAL SUBSCRIPTION— 

Great Britain and Canada, 6s. post free. 
America.$2.00 

LONDON: 

DAWBARN & WARD, Ltd. 

6 FARRINGDON AVENUE, E. C. 


Please say “Saw your adv. in Photo-Engraving Art.” 


Lb Mr ’ll 






























































READY ON THE MINUTE 



NOT THE 
CHEAPENING 
HURRY OF TO-DAY, 


POWERS PHOTO ENGRAVING CO. 

THE FASTEST ENGRAVERS ON EARTH 

154 NASSAU ST. N.Y. TEL. 4200BEEKMAN 



THE KIND OF PICTURES 
THAT SELL YOUR GOODS 


Photographs 
that need the 
Minimum of 
Retouching 

Fast Service 

High Quality 
& 

Right Price 
# 

Indoor and 
Outdoor Work 



•PHOTOGRAPHER• 

8 2 WEST BROADWAY 
• NEW YORK* 


A Large 
GALLERY 
& 

Expert 

Operators 

Enlargements 

or 

Reproductions 

& 

Silver Prints 

Telephone 

17SI Cortlandt 


































NEW YORK 
290 BROADWAY 

CHICAGO. ILL. 
158 EAST HARRISON ST. 


MANUFACTURERS OF 

SUPERIOR WATER AND OIL 
COLORS FOR ARTISTS’ USE 
AND, PRINTING INKS TO 
MATCH SAME. 


PATENTEES OF THE 

MARATTA MARGO LAW OF COLOR 

AND 

CHROMATOSCOPE CHART. 

f WRITE FOR 


SEE BELOW WHAT BARNES- 
CROSBY CO. WRITE US. 

Chicago, May 27th, 1909. , . 
Philip Ruxton, Inc.., 

158 E. Harrison St, Chicago. / 

Deyr Sir: —I feel it is only fair to tell 
you how we appreciate yourMaratta Sys¬ 
tem of color standardization. It is prac¬ 
tical, correct and simple, and therefore 
wonderful. I feel that you have bridged 
the chasm between the artist’s original 
colot conception and the engraver’s and 
printer’s reproduction of it. Its greatest 
feature, in my mind, is the fact that it 
eliminates guesswork entirely and makes 
it possible for a mechanic to produce ar¬ 
tistic effects. Since actions speak louder 
j than words, 1 will dismiss the subject by 
saying that we have adopted your system 
and are glad of it. 

Very truly yoijrs, 

BARNES-CROSBY CO., 

| l. f. — A. Louis Flaper, Mgr. City Dept. 
PARTICULARS 


COVER SCHEME USED ON THIS NUMBER SELECTED FROM 
RUlTON’S. CHROMATOSCOPE CHART 


«D 


THE FACT that there are now actually at 

work or on order 47 Acid Blast Etching Machines 
and 10 Etch Powdering Machines in the United 
States, and 21 Acid Blast Etching Machines and 8 
Etch Powdering Machines in Europe speaks for itself. 


The Graphic Arts Company 


Owning and Controling all Patents on Levy Etching Machine* 


1221 Spring Garden Street 
l Philadelphia, Pa. 




A 


SB. 


120 


Please say “Saw your adv, in Photo-Engraving Art 


4.' " . 

Hta ... B. S 



































































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